Music of Gallot le VieuxFrom the Barbe Manuscript, ca. 1690

Edited by Kemer Thomson

Tablature set using Fronimo, by Francesco TribioliCopyright © 2006, Kemer Thomson

IndexPreface iii

Courante [La belle magnifique] Barbe, pg. 14 (d minor) 1[Sarabande] L'Altesse Royale Barbe, pg. 15 (d minor) 2[Allemande] La Psiché [ou Les plaintes de Psichér] Barbe, pg. 32 (a minor) 3Courante [recte: Sarabande La pièce de huict heurs] Barbe, pg. 34 (a minor) 5[Canarie] Les Castagnettes Barbe, pg. 35 (a minor) 6[Allemande] L'Amant malheureux Barbe, pg. 36 (a minor) 7[Chaconne] La Montespan Barbe, pg. 47 (a minor) 8[Sarabande] Les Larmes Barbe, pg. 68 (F Major) 9Allemande Tombeau de Mr de Thurenne [ou Tombeau de Mars] Barbe, pg. 82 ( C Major) 10[Courante] La Coquette [ou La Grondeuse] Barbe, pg. 84 ( C Major) 12[Bourreé] La Nopce Barbe, pg. 85 (C Major) 13[Courante] L'homme à bonne fortune Barbe, pg. 86 ( C Major) 14[Allemande] La [belle] Lucrece Barbe, pg. 134 (f# minor) 15[Courante] La [belle] Villette Barbe, pg. 136 (f# minor) 16[Sarabande] La Religieuse Portugaise Barbe, pg. 137 (f# minor) 17[Gavotte] La Dauphine Barbe, pg. 138 (f# minor) 18Sarabande [La Royalle] Barbe, pg. 139 (f# minor) 19[Courante] L'Eternelle Barbe, pg. 140 (f# minor) 20[Courante] La [fidelle] Tourterelle Barbe, pg. 141 (f# minor) 21[Courante] La Nonpareille Barbe, pg. 142 (f# minor) 22Dialogue [ou La Mouche, Chaconne] Barbe, pg. 190 (c minor) 24

- ii -

The Barbe ManuscriptOf the numerous surviving lute manuscripts of 17th Century France, arguably the greatest is known today as the "Barbe Manuscript," named after its presumed first owner, Jean-Baptiste Barbe (1675-1759). This collection, written in a clear and consistent hand throughout, contains a broad survey of the greatest lutenists of the century: a total of 180 pieces. Equally important is the fact that the music is extensively annotated for performance-obviously by a master lutenist of the day. Detailed fingering for both the left and right hands demonstrates not only the technique, but the interpretive gestures of performance of this music. This collection really represents a musical retrospective: much of the music was over forty years old at the time of compilation. This manuscript shows how such "golden oldies" might have been performed at the end of the century.

The importance or popularity of Jacques Gallot's music is suggested by the relative number of pieces found in the Barbe Manuscript: works of Denis Gaultier ("le Jeune") represent the largest contribution to the collection, followed by Pierre Dubut, and then Jacques Gallot ("Gallot le Vieux"): 21 complete works by Gallot le Vieux. Eleven of these are also found in the Leipzig II.6.14 manuscript; this is of special interest because the Leipzig manuscript is an important source of Gallot's music and provides a useful comparison.

Details of Jacques Gallot's life are sketchy, at best. He was born around 1625 and apparently died sometime after 1690. He studied with Ennemond Gaultier (Gaultier le Vieux) and by the age of 30 was considered to be one of the foremost French lutenists. Claude Chauvel writes of Gallot,

Jacques Gallot seems to have preferred his independence to any official office. He was indeed in great demand as a teacher among members of "high society"; ... Compared to that of his contemporaries, Gallot's music is immediately striking in its originality, even though it adopts the usual framework of dance movements to which lutenists were traditionally attached.

The Barbe Manuscript is carefully organized by key, beginning with those keys that require no special tuning: d-minor, a-minor, F-major and C-major, representing 80 of the 180 pieces in the manuscript. Twelve of the pieces in this collection of Gallot's music require no special tuning of the bourdons. Eight of them-perhaps the finest pieces here-are in the "goat tuning" of f# minor, which requires that the bourdons be tuned C#, D, E, F# and G#. The final piece is in c minor, requiring only an Eb.

My editorial approach has been to be as non-invasive as possible. The manuscript is remarkably clear and there are few ambiguities. No time signatures are given and alternate endings at the repeats assume the player will adjust appropriately for any anacrusis. All fingerings and tenues have been preserved. The biggest change is in indications for the barré: the original indicates this with a beginning left bracket and a line extending to the approximate end of the barré. This does not reproduce very well without color; so, I have chosen to use Mouton's approach that notates the barré by opening and closing brackets.

A facsimile of the Barbe Manuscript is published by Éditions Minkoff: an attractive, if somewhat expensive, edition that reproduces the original's two colors (black with red annotations). There are some nuances of this hand annotation that can't be recreated. Ideally, the performer would refer to the facsimile; this modern "edition" has the advantage of both improved clarity and convience of

- iii -

reproduction. This tablature was set using Francesco Tribioli's program Fronimo using the Gavotta tablature font: I think this admirably preserves the aesthetics of the orginal. Because it is electronically set, corrections are easily made and I would like to encourage readers to send any corrections to me at kemer.thomson@gmail.com.

Finally, I would like to refer everyone interested in the Barbe Manuscript specifically, and the performance of seventeenth-century Fench lute music in general, to George Torres' brilliant doctoral dissertation, referenced in the bibliography below. This book-sized document provides extensive information and commentary on the Barbe Manuscript, along with detailed references to performance practice. It is readily available through UMI Dissertation Services for less than the cost of a hardbound book: it is a treasure-trove of information not readily available in English.

Kemer ThomsonAugust, 2006

Bibliography

Ledbetter, David. Harpsichord and Lute Music in Seventeenth-Century France. Indiana University Press, 1987.

Rave, Wallace. "Performance instructions for the seventeenth-century French lute repertory", in Performance on Lute and Guitar and Vihuela: Historical Practice and Modern Interpretation, Edited by Victor Anand Coelho. Cambridge University Press, 1997.

Torres, George. Seventeenth-Century Pièces de Luth: an Exasmination of the Manuscript Anthology Tradition with a Special Emphasis on the Barbe Manuscript. (PhD Dissertation, Cornell University), 1998.

Facsimile Editions

Manuscrit Barbe: Pièces de Luth de Différents Auteurs en Tablature Française. Fac-similé du ms. de la Bibliothèque nationale, Paris, ca. 1690 Rés. Vmb.ms.7. Éditions Minkoff, Introduction by Claude Chauvel. 1985.

Gallot le Vieux: Stücke für Barocklaute. Reproduktion der Handschrift im Besitz der Stadt Leipsiz Städtische Bibliotheken Musikbibliothek (Signatur II.6.14). Tree Edition, Albert Reyerman. 1999.

Partial Discography

Liddell, Cathreine. La belle voilée. Centaur, CRC 23259, 1997.

Monteilhet, Pascal. François Dufaut-Jacques Gallot: Pièces pour luth. Virgin Veritas. 1993/1994.

Smith, Hopkinson. Jacques de Gallot: Pièces de Luth. Astrée Auvidis, E 8528, 1994.

- iv -

Barbe, pg. 14 (d minor)Courante [La belle magnifique]

Jacques Gallot

1)ó

aS

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ó

a

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1) Version in Leipzig II.6.14, 18v

- 1 -

Barbe, pg. 15 (d minor)[Sarabande] L'Altesse Royale

Jacques Gallot

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1) Version in Leipzig II.6.14, 27v

- 2 -

Barbe, pg. 32 (a minor)[Allemande] La Psiché [ou Les plaintes de Psichér]

Jacques Gallot

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- 3 -

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- 4 -

Barbe, pg. 34 (a minor)Courante [recte: Sarabande La pièce de huict heurs]

Jacques Gallot

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- 5 -

Barbe, pg. 35 (a minor)[Canarie] Les Castagnettes

Jacques Gallot

ó

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- 6 -

Barbe, pg. 36 (a minor)[Allemande] L'Amant malheureux

Jacques Gallot

ó

hZ 3

ô /

hQY

õ

hRZ

ô

fW 9gQX hQY

hZGgX

f9

ô

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gX9B

fRWa

GA

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a

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4ô

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õ

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õ

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ô /

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õ

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ô

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D

ô /

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õ

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ô /

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õ

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ô

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õ

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ô

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a

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ô /

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õ

fR

ô /

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A

õ

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ô

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7ó

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C

ô/

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õ

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õ

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B

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ò

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õ

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ô /

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õ

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ô

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ô/

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õ

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ô

a

GA

aR

ô /

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õ

fR

13ô

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dRZ da

C

cRX 9

ô /

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õ

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ô

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a

ó

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ô /

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õ

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õ

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B

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a

ô /

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õ

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ô

ih

a

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ô /

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õ

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ô

h

GA

eQW

ô /

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õ

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ô

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B

dRW dW 9eXa

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a

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õ

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ô

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- 7 -

Barbe, pg. 47 (a minor)[Chaconne] La Montespan

Jacques Gallot

ó

B

ceZcQ

dRX 9

ó

aeZ7a

cQWaeR

ó

a

dZcWaQ

cRX 9

ó

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ó

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ô

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aR

ó

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7ó

a

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a

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ô

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õ

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ò

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ó

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ô

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25ó

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ô

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õ

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ó

a/////·

ò

a

- 8 -

Barbe, pg. 68 (F Major)[Sarabande] Les Larmes

Jacques Gallot

1)ô /eZ

A

õeR

ó /eZÃYÃWaQ

ôfRZ

ô /c9

D

õcR

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a

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ô /

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dY

õ

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ò

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ô

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acQW

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õ

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ô

aS d

6ó /

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ô

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dZ

ô

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ó

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õ

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ô /

a

A

õ

aR

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ò

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ô

a

A

aRcX dY bQW 9

aR

ó

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ô

cX 9 bW aS aR

11ô

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Barbe, pg. 82 ( C Major)Allemande Tombeau de Mr de Thurenne [ou Tombeau de Mars]

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Barbe, pg. 84 ( C Major)[Courante] La Coquette [ou La Grondeuse]

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Barbe, pg. 85 (C Major)[Bourreé] La Nopce

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Barbe, pg. 86 ( C Major)[Courante] L'homme à bonne fortune

Jacques Gallot

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- 14 -1) Version in Leipzig II.6.14, 48v

- 14 -

Barbe, pg. 134 (f# minor)[Allemande] La [belle] Lucrece

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Barbe, pg. 136 (f# minor)[Courante] La [belle] Villette

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- 16 -

Barbe, pg. 137 (f# minor)[Sarabande] La Religieuse Portugaise

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- 17 -

Barbe, pg. 138 (f# minor)[Gavotte] La Dauphine

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Barbe, pg. 139 (f# minor)Sarabande [La Royalle]

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- 19 -

Barbe, pg. 140 (f# minor)[Courante] L'Eternelle

Jacques Gallot

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- 20 -

Barbe, pg. 141 (f# minor)[Courante] La [fidelle] Tourterelle

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Barbe, pg. 142 (f# minor)[Courante] La Nonpareille

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- 25 -