The Ebenthal Manuscripts
GOËSS I
TREE EDITION
The Ebenthal Manuscripts
GOËSS I
(ca 1655 - 1670)
Pieces for Lute
Introduction and concordances
by
Tim Crawford
Third printing ©2014
TREE EDITION
Albert Reyerman
This is one of a series of facsimile editions of music manuscripts from the family library
of Count Leopold von Goëss published by TREE EDITION. The manuscripts have been
kept together at the family home Ebenthal Castle in Carinthia, Austria for over 200 years
and remained unknown to the musical world until 1979. Their publication will be
welcomed by musicians and scholars, since much of thismusic is unique, and many
pieces which appear in other sources are transmitted here in reliable versions sometimes
with useful new attributions.
I am extremely grateful to Count von Goëss for his help and hospitality in visits to
Ebenthal and for his gracious permission toreproduce the manuscripts. Also I have to
thank a number of people for their invaluable help:
Dr. Douglas Alton Smith, Menlo Park, California, USA
Dr. Josef Klima, Vienna, Austria
Dr. Georg Christoph Dauer, Kelheim, Germany
Dr. Ernst Robert Langlotz, Munich, Germany
Dr. Josef Höck, Klagenfurt, Austria
Tim Crawford, London, England
Francois-Pierre Goy, Paris, France
Albert Reyerman
TREE EDITION
Contents
No Folio Title Composer
1 lv-2 Prelude Dufaut
2 2v-3 Prelude Dufaut
3 3v-4 Prelude Dufaut
4 4v-5 Prelude Dufaut
5 5v-6 Prelude Dufaut
6 9v-10 Prelude Dufaut
7 10v-11 Prelude Dufaut
8 11v-12 Prelude Dufaut
9 12v-13 Prelude Dufaut
10 13v-14 Prelude Dufaut
11 14v-15 Courante Gautier
12 15v-16 Courante ‚La belle homicide’ Vieux Gautier
13 16v-17 Courante ‚Les larmes de Boisset’ VieuxGautier
14 17v-18 Allemande Anon.
15 18v-19 Gigue Gautier
16 19v-20 Allemande ‚Favorite‘ Dubut
17 20v-21 Allemande ‚Le Tombeau‘ DuFresneau
18 21v-22 Allemande DuFresneau
19 22v-23 Courante DuFresneau
20 23v-24 Sarabande DuFresneau
21 24v-25 Allemande ‚Les larmes‘ DuFresneau
22 25v-26 Prelude Dubut
23 26v-27 Allemande Anon.
24 27v-28 Courante ‚Le Beuf‘ Aymon
25 28v-29 Courante Aymon
26 29v-30 Sarabande Anon.
27 30v-31 Canaries ‚La Chevre‘ Vieux Gautier
28 31v-32 Pavane Anon.
29 32v-33 Courante Anon.
30 33v-34 Sarabande Gautier
31 34v-35 Gigue Anon.
32 35v-36 Allemande Anon.
33 36v-38 Courante and double Gautier
34 38v-39 Courante Gautier?
35 39v-40 Courante DuFresneau
36 40v-41 Allemande Dubut
37 41v-42 Courante Vieux Gautier
38 42v-43 Sarabande Vieux Gautier
39 43v-44 Allemande Anon.
40 44v-45 Courante DuFresneau
41 45v-46 Courante Anon.
42 46v-47 Allemande Gautier
43 47v-48 Courante DuFresneau
44 48v Sarabande DuFresneau
45 48v-49 Courante ‚Cleopatre Amante’
or ‚pour la Reine de Suede’ Vieux Gautier
46 49v-50 Gigue Gautier
47 50v-51 Allemande Dubut
48 51v-52 Courante Anon.
49 52v-53 Sarabande Dubut
50 53v-54 Allemande DuFresneau
51 54v-55 Courante Dubut
52 55v-56 Courante Dubut
53 56v-57 Courante Gautier
54 57v-58 Sarabande Gautier
55 58v-59 Prelude DuFresneau
56 59v-60 Allemande Gautier
57 60v-61 Prelude Strobel
58 61v-62 Courante Gautier
59 62v-63 Sarabande Anon.
60 63v-64 Prelude Anon.
61 64v-65 Allemande Anon.
62 65v-66 Courante Denis Gautier
63 66v-67 Courante Gautier
64 67v-68 Sarabande Anon.
65 68v-69 Prelude Dubut
66 69v-70 Gigue Emond
67 70v-71 Courante Vieux Gautier (or Dubut?)
68 71v-72 Courante Vieux Gautier
69 72v Sarabande Gautier
70 73v-74 Prelude Anon.
71 74v-75 Allemande Anon.
72 75v-76 Courante Anon.
73 76v-77 Sarabande Anon.
74 77v-78 Prelude Anon.
75 78v-79 Allemande ‚Le Tombeau de Blancrocher’ Denis Gautier
76 79v-80 Courante and double Gautier (or Dubut?)
77 80v-81 Courante Dubut
78 81v-82 Courante Emond
79 82v-83 Sarabande Gautier
80 83v-84 Sarabande ‚L ´Espagnolette‘ Vieux Gautier
81 84v-85 Allemande Gautier
82 85v-86 Courante ‚Le Triomphe‘ Gautier
83 86v-87 Sarabande or Volte Gautier
84 87v-88 Prelude Anon.
85 88v-89 Allemande Anon.
86 89v-90 Courante Anon.
87 90v-91 Courante Anon.
88 91v-92 Sarabande Anon.
89 92v-93 Allemande ‚sur la Mort du Roy d’ Angleterre’ Bocquet
90 93v-94 Courante Bocquet
91 95v-96 Prelude Anon.
92 96v-97 Prelude Anon.
93 97v-98 Allemande Anon.
94 98v-99 Courante Vieux Gautier
95 99v Sarabande Mercure
96 100 Courante Anon.
97 100v-101 Prelude Anon.
98 101v102 Prelude Anon.
99 102v-103 Allemande DuFaut
100 103v-104 Courante Anon.
101 104v-105 Sarabande Anon.
102 105v-106 Prelude Mercure
103 106v-107 Prelude Anon.
104 107v-108 Allemande Mercure
105 108v-109 Courante Mercure
106 109v-110 Sarabande Anon.
107 113v-114 Gigue DuBut
108 114v Sarabande LeMoyne
109 120v-121 Courante Gautier
110 121v-122 Allemande ‚LeTombeau de L ´Enclos‘ Vieux Gautier
111 122v-123 Courante Gautier
112 123v-124 Courante ‚Les larmes de Boisset’ Vieux Gautier
TIIE GOËSS MANUSCRIPTS
In 1979 the American scholar, Douglas Alton Smith, visited the Goëss family seat, Schloss Ebenthal,
near Klagenfurt in the southem Austrian province of Carinthia, expecting to find a single lute book;
eventually no fewer than 13 tablature manuscripts from the 17th and early 18th centuries were discovered
on the shelves.
They had apparently all belonged to the family from their compilation, and thus constitute a unique
and priceless record of several generations of musical activity over nearly a century in a distinguished
Austrian noble household. Douglas Smith arranged for the photographing of the manuscripts by Albert
Reyerman and others and reported the discovery in an article discussing the manuscripts and their
family background.1
The three viol tablatures were catalogued from microfilm by Gordon Dodd in England, and in 1986
the present writer visited Schloss Ebenthal with Albert Reyerman in order to carry out a more detailed
examination of the manuscripts; the assistance of Claude Chauvel and David Ledbetter has since been
invaluable in preparing concordance lists.
The 13 Goess manuscripts fall into four groups:
1. Five MSS from the mid-17th century: one for lute (MS I),
one for theorbo with lute pieces, two for viol (MSS ‚A‘ and ‚B ‚),
another (MS II) including music for lute and for viol;
2. A group offour lute books (MSS III, IV, V and VI) from the
end of the 17th century;
3. Three MSS (VII, VIII and IX) from the early 18th century:
lute parts for chamber music;
4. A single MS for solo lute, dated 1740.
Each of the manuscripts in group 1 has a substantial contribution (totalling over 220 pieces) from one
particular unidentified scribe (named Q in Smith’s article), who also wrote the dates ‚A Utrecht le
19de[cem]bre1664‘ and ‚A Utrecht le 6 de May 1668' in the viol MSS A and B respectively. However,
a few pieces in Q’s hand are dated before this, the earliest given date being 11 Feb [16]55 (MS B,
f.15v). The Utrecht dates are therefore more likely to refer to the time of binding rather than purchase
or copying. There are a number of pieces by ‚Du Fresneau’ in MS I which have concordances with
Krakow/ Berlin 40626, a manuscript bearing the date ‚Le 17 Juin 1658,‘ which suggests a similar
date.2
The viol manuscripts contain many items by musicians in English royal service before the execution
of Charles I and the Commonwealth (1648-1660); one ofthese, Ditrich Stöeffken (often ‚Stephkins‘ or
‚Steffkins‘ in non-autograph sources), entered a group of six pieces in his own hand in MS B. Stöeffken
is one of several composers whose music appears in the Goess manuscripts and whose names are also
encountered in the correspondence of Constantijn Huygens (1596-1687), the Dutch diplomat, poet,
scholar and expert amateur m usician and composer. 3 Stöeffken in particular was in very close and
regular contact with Huygens in Holland during 1647-8, and they continued to correspond some years
after the violist had retumed to England at the Restoration of Charles II in 1660. Some of the names of
these musicians are hardly encountered at all outside Huygens’s letters.
The lutenist Jacques de St. Luc was well-known, although no music survives outside the Goëss theorbo
MS, and a viol player called Betkofski, too, seems to have no works surviving in other sources; just a
few pieces for theorbo by the Italian guitarist Michel Angelo Bartolomi (or Bartolotti), who worked in
Paris and met Huygens in the early 1660s, have been found elsewhere.
Two French acquaintances of Huygens, the lutenist Francois Dufaut and the viol-player Nicolas Hotman,
were among the best known musicians of their day; the Goëss manuscripts add substantially to their
surviving works. The likelihood that Q had a personal connection with Huygens is substantially increased
by the appearance in MS A of the only instrumental piece by Huygens known to have survived to the
present day, an allemande in Q’s hand by ‚Mr Zuilekom‘ (f.73); Huygens had purchased the manor and
title of Zuilichem in 1630.4 While the identity of scribe Q remains unknown for the present, it is
probable that he was active as a collector of music during the 1650s and 1660s and travelled widely:
one piece by Stöeffken is annotated ‚Rome 1659‘ (MS A, f.42v).5
19 viol pieces are ascribed to William Young (or ‚Jung‘ or ‚J‘ - although the latter may be intended to
refer to ‚Jenkins‘ in certain contexts), an English virtuoso violist who served the Archduke Karl at
Innsbruck from before 1652 until his death in 1662; the Goëss library also contains the first violin part
only of his extremely rare printed collection Sonate a 3, 4, e 5 (Innsbruck,1653). One viol piece by
Young bears the date ’17 May 68' (MS A, f.76v); since the composer had died 6 years before, this must
be the date of copying.
The four Lute books in group 2, from the next musical generation, although sharing some common
repertory with group 1, were probably compiled for Maria Anna von Sinzendorff-Erstbrunn ( 1670-
1709) who married the first Count von Goëss, Johann Peter (1667-1716), at Rome in 1693. In MS III
appears ‚Allemande les plaintes de Gallot pour le depart de Mademoiselle MariAnne de Sinzendorff.’
(f.46v), a version of the well-known piece usually entitled ‚L‘ Amant malheureux.’ This neatly establishes
the date of copying as sometime before 1693 (although the allemande could have been composed by
Gallot when Maria Anna was in her infancy - such ‚rededications‘ of existing lute pieces are not
unknown), and the original owner as being from the Sinzendorff family. (Itis possible, of course, that
group 1, as well, was originally of Sinzendorff rather than Goëss provenance. Both families were
highly distinguished in the Imperial diplomatic service, giving opportunities both for travel and for
contact with the finest musicians, professional, like Stöeffken and Young, and amateur, like Huygens.)
The principal hand in this group of manuscripts, probably that of a professional lute teacher, also
appears in lute tablatures from the library of the Lobkowitz family, now in Prague. Johann Peter and
Maria Anna’s son, Johann Anton von Goëss (1695-1764), married Maria Anna von Thürheim (1695-
1769) in 1720. This Maria Anna and her sister Jacobina were lutenists, too; their names are stamped on
the spines of two of the three ensemble Jute part-books in group 3. lt is possible, but not certain, that
these were copied before their owners entered the Goëss household in 1720.
The single lutebook in group 4 has a decorated calligraphic title-page stating that it was compiled in
1740 by one ‚Antoni Josseph Hueber’ for his pupil Maximiliana von Goess (1725- 1755), daughter of
the last-mentioned Maria Anna.6 Since some pieces at the end of the book are in the same band as the
ensemble part-books in group 3, Douglas Smith has suggested that they were copied in by Maria Anna
for her daughter’s use.7 A mural, dated 1739, in a room at Schloss Ebenthal depicts the family making
music together, with Maximiliana apparently playing a Mandorlaute, the simplified form of lute from
which she may have graduated to the more galant ‚true‘ lute in the following year when her manuscript
was copied.
Like group 2, this manuscript has a connection with the highly musical Lobkowitz family; the opening
group of four suites appears in the same sequence in a lute manuscript from the Lobkowitz collection
now at the Austrian National Library in Vienna. In the latter source, these four excellent suites are
ascribed to noble dilettantes, three to ‚comte bergen‘ [Johann Ferdinand Wilhelm von Pergen (1684-
1766)] and one to the ‚Prince de lobkowitz‘ [Philip Hyacinth von Lobkowitz ( 1680-1735)]. 8
MANUSCRIPT I
The manuscript published in this facsimile edition (Goess MS I) was probably completed during the
1650s or 1660s, like the others in group 1, as we have seen. It is unusually small for a lute book,
approximately 162mm x 102mm, and is here reproduced at 120% of the original size to improve
legibility for the player. lt is bound in contemporary calf with gold-stamped omaments; fragments of
two green ties remain. The endpapers bear watermarks depicting the arms of Amsterdam and the
music-paper the equally ubiquitous ‚dunce‘s cap’. Owing to the small size of the volume, it has proved
impossible to trace sufficiently complete watermarks for use as a means of dating.
The music paper is neatly ruled with four staves to the page using the same 6-line rastrum throughout.
Page-tums in this edition are as in the MS, but the leaves just containing empty staves-originally left
by scribe A to separate sections in different keys-are omitted (ff.6v-9r,94v-95r, 110v-113r, 115r-120r,
124v-128v).
Three scribes contributed music:
A copied the bulk of the music (and two pieces in MS II); a highly skilled, probably
professional, copyist (see [Link]- 14r; 15v-17r; 25v-39r; 40v-48v; 49v-50r; 51v-56r;63v-84r;
87v-114v);
Q the original owner of this group of manuscripts (see above), added pieces to each of them
(26 in MS I); at times somewhat careless in rhythm-signs (see ff.14v-15r; 17v- 25r; 39v-40r;
48v-49r; 50v-51r; 56v-63r; 84v-87r; 120v- 121r);
B another highly practised scribe, added just three pieces (see 121v-124r).
Apart from a single piece, the prelude by Strobel (piece 57, ff. 60v-61), all the music is for 11-course
lute, the preferred instrument of the French luthistes of the mid-17th century, whose work is well-
represented here. Strobel’s prelude requires a 12-course instrument, as do one or two other pieces by
him. As usual for lute manuscripts of this period, the music is grouped into keys to avoid retuning
between pieces. For the lute’ s upper strings, the ‚normal‘ D minor tuning (‚ton ordinaire‘), established
by Ennemond Gautier ‚le vieux‘ during the 1630s, is used except for a group of five pieces in F minor,
in which the 6th course must be raised by a semitone (pieces 84-88; see the note on f.92r).
The resultant special tuning, usually used for pieces in the key of B flat, was known as ‚ton Mercure‘
after the celebrated lutenist Jean Mercure who frequently used it. Some pieces in B flat later in MS I,
including some by Mercure himself, were clearly transcribed from ‚ton Mercure‘ into the normal D
minor tuning (see the errors and corrections on ff.96v, 99v and 100). Most of MS I requires the retuning
of the bass strings known as ‚ton de la chevre‘, used for pieces in either F# minor (pieces 11, 14-59,
81-3) or A major (pieces 60-80, 109).
ORNAMENT AND TECHNICAL SIGNS
The three scribes vary slightly in their use of ornament and technical signs
- in general in lute manuscripts this seems to have been a personal matter
apart from a few standard signs as used here by all three.
An unusual feature of this manuscript is the virtual absence of dots to indicate
right-hand fingering.
As was more-or-less universal practice, the use of the thumb is frequently
indicated by Q and A, but not in every piece. This suggests that this is not a
book of ‚lessons‘ in the didactic sense, but a collection compiled for a
player known by the scribes to have sufficient expertise not to require such
guidance. As in similar ‚anthology‘ manuscripts, differing patterns of use
of particular ornament signs can be shown to reflect the variety of sources
from which the music was originally copied.
CONCORDANCES
Pieces with known concordances in other manuscripts only are listed here. Where a concordance
exists with a piece in a standard edition, it is listed first, but the additional concordances listed in that
edition are not provided here unless they require special comment. Otherwise unexplained editorial
titles come from concordant versions listed in the standard edition. This list was compiled with the
kind help of Claude Chauvel and David Ledbetter.
1 lv-2 Prel[ude] p[ar] duFaut
Rostock54,pp.156-7: Praelude.D.F. inGmoll
11 14v-5 [Vieux Gautier, Courante]
Oeuvres du Vieux Gautier, No. 76 ( arranged for harpsichord by D’Anglebert);
Goëss I,ff.120v-1: [Link](seethisMS No.109)
12 15v-6 [Vieux Gautier, Courante ‚La belle homicide’]
Oeuvres du Vieux Gautier, No.19; Goëss III, f.15v-16:Cour: Gault; Harvard, pp.22-3:
Courante; Paris 51, ff.46v-7: n.t.; Paris 6265, p.85: n.t.; Poznan, f.22v:
Courante du meme [Gaultier]
13 16v-7 Cour[ante] du V[ieu]x Gault[ier ‚Les larmes de Boisset’]
Oeuvres du Vieux Gautier, Nos. 51 and 65; Brussels 10, f.5
(last 14 bars only); Brussels 276, ff.24v-5: Volte ou [es larmesde la Reyne du vieux Gautier;
Brussels 1037, ff.13v-14: n.t.; Goess I,
ff.123v-4 (no. 112, below); Harvard, p.78: n.t. (lst strain only);
Kremsmünster 79, ff.199v-200: n.t.; Paris 15, ff.146v-7: La Simphonie, courante de
Gautier le vieux; Robarts, f. D2: Courante]
15 18v-9 Gigue Gotey[?] [ie Gautier]
Reynaud, f.107v:Allemande; Goëss 11, f.36 G.G.
17 20v-1 T[ombeau de Du] F[resneau]
Krakow/Berlin 40626, ff.66v-7: Le Tombeau de Du Fresneau
19 22v-3 C[ourante Du] Fren[eau]
Krakow/Berlin40626, ff.52v-3: C. DuFresneau
21 24v-5 Les larmes de Fresneaux
Cf Krakow/Berlin 40626, ff.24v-5: Lais [arme (sic) de Du Fresneau (a different piece)
22 25v-6 Prelude par du But
Kremsmünster L 79, f.92v: Prelude
24 27v-8 Cour[ante] d’ Aymon
Blovin, pp.24-5: Le Beuf; Robarts, f.A3: Courante 2
26 29v-30 Sarab[ande]
Goëss 1, f.62v-3: n.t., (no. 59, below)
27 30v-1 La Chevre du V[ieu]x Gaut[ier]
Canaries
Oeuvres du Vieux Gautier, No. 54; Brussels 276, f.98v: n.t.;
Robarts, f.A2: La Cheure du vieux Gaultier de Zion
30 33v-4 Sarab[ande, Gautier]
Rhetorique, pp.74-5: n.t.; Blovin, pp.160-1: Sarabande ;Brossard,
ff.188v-9: Sarabande de gautier
31 34v-5 Gigue
Robarts, f.A6: Gigue
33 36v-7 Cour[ante, Gautier]
Brossard, ff.184-5v: 2de Courante de gautier (with double)
36 40v-1 Allem[ande] du But [or Dufaut?]
GoëssIV, [Link]-2: GuigueduFaut
37 41 v-2 Cour[ante] du V[ieu]x Gault[ier]
Robarts, f.A3: Courante 1
38 42v-3 Sarab[ande] du V[ieu]x Gault[ier]
Robarts, f.A4: Sarabande
40 44v-5 Cour[ante, Du Fresneau]
Krakow/Berlin 40626, ff.45v-6: Courante de Dufresneau
42 46v-7 Allem[ande, Gautier?]
Rhetorique, pp.90-1: n.t.
45 48v-9 [Gautier, Courante]
Oeuvres du Vieux Gautier, No.21[titles given: Cleopatre Amante
(Rhetorique ); pour la Reine de Suede (Milleran)]
46 49v-50 Gig[ue, Gautier?]
Rhetorique, pp.92-3: n. t.
50 53v-4 Allem[ande] de Mr Fresneau
Goëss III, f. 72v-3: n.t.
52 55v-6 C[ourante] du But
Leipzig 24, f.80v: Gautier; Saiz II, p.88: Courante
53 56v-7 C[ourante]G[autierorDubut?]
Oeuvres des Dubut, No. 50 (with double)
56 59v-60 [Gautier, Allemande]
Berlin40068, f.73:AllemandedeGauJier; Brussels 10, ff.28v- 9: n.t.;
Krakow/Berlin 40626, ff.54v-5: Le Tombeau de GauJier;
Reynaud, f.110: Tombeau de la famme de Mr. Gautier, Rhetorique,
pp.64-5: Tombeau de Mademoiselle Gaultier; Saiz Il, pp.18-9:Allemande
58 61 v-2 [ Gautier, Courante]
Brossard, ff.187v-8: 4e Courante de gautier; Goess Il, f.22v:
C.G. sur lentree de la Reine de suede dans Paris; Reynaud, f.110:
Caprice de Gautier; Rhetorique, pp.84-5: Artemise ou l’ Oraison funebre
59 62v-3 [Sarabande]
Goëss 1, ff.29v-30: Sarab: (no.26, above, with an extra final strain)
62 65v-6 Cour[ante, Denis Gautier]
Barbe, p.149: Courante Gautier; Blovin, pp.152-3:Courante;
Brossard, ff.153v-4: 1 re Courante de Gautier; Brussels 10,ff. 70v-1: n.t.;
Monin, f.51v: Courante de Gaultier; Oxford 617, ff.51 v-2:
Courante de Gautier; Reynaud, f.105: Coura[n]te de Gautier;
Rhetorique, pp.48-9: La Coquette virtuosa
63 66v-7 Cour[ante, Gautier?]
Krakow/Berlin 40626, ff.57v-8: Courante de Gaultier
66 69v-70 Gig[ue] dEmond Barbe, p.160: Gigue Edmon; Saiz 1, p.155: Gigue
67 70v-1 Cour[ante] du V[ieux] Gault[ier or Dubut?] Oeuvres des Dubut, No. 48
68 71v-2 C[ourante] deGault[ier]
Oeuvres du Vieux Gautier, No. 31; Rostock 54, p.362: Courante de Gautier
69 72v S[arabande] G[autier]
Barbe, p.150: Sarabande Gautier; Brossard, ff.158v-9: Sarabande de gautier;
Oxford 617, pp.126-7: Sarabande; Prague 80, pp.70-1: Sarabande De Gautier;
Reynaud, f.106v: Sarabande; Schwerin 641, p.120: n.t 16
75 78v-9 Allem[ande, Denis Gautier ‚Tombeau de Blanrocher’]
Barbe, p.148: Tombeau de Blanrocher par Gautier; Brossard, ff.152v-3:
Allemande de Gautier; BrusselslO, ff.65v-6: n.t.; Harvard, p.52: Allemande;
Harvard, p.66: Allemande; Keller, ff.92v- 3:Allemande; Krakow/Berlin40626, ff.55v-6:
Les larmesde Gauttier; Monin, f.52v: n.t. (first strain only); Prague 80, pp.56-7:
Tombeau de Blancrocher, AIIemande De Gautier; Reynaud, f.108v
76 79v-80 C[ourante] de Gault[ier]
Barbe, p.158: Courante Gautier (with double); Blovin, pp. 28-9: Courante. G;
Krakow/Berlin 40626, f.53v: Courante de Mr DuBut; Leipzig 24, f.133v (with double);
Oxford 617, pp.106-7: Courante (withdouble ); Prague80, pp.58-9: CouranteDeGautier
(with double); Reynaud, f.104: Courante de Gautier (with Diminution);
Schwerin 641, p.119: n.t. 80 83v-4 L Espagnolette [Vieux Gautier]
Oeuvres du Vieux Gautier, No. 47: Sarabande de Gautier de Lyon
82 85v-6 Cour[ante] G[autier]
Brossard, ff.186v-7: Jme Courante de gautier; Rhetorique, pp.86-7: Le Triomphe
83 86v-7 S[arabande or Volte?] G[autier] Rhetorique, p.88: Volte; Saiz 1, p.209: Volte
90 93v-4 Cour[ante] de Bouq[et] Oeuvres des Bocquet, part 2, no. 13 (with double)
91 95v-6 Prel[ude, Mercure?] Darmstadt 1655, ff.70v-l: n.t.; Keller, ff.75v-6:Prelude
93 97v-8 Allem[ande] Brossard, ff.201 v-2: Allemande
94 98v-9 Cour[ante, Gautier]
Oeuvres du Vieux Gautier, No.32; Amsterdam, ff.39v-40: Courante; Brossard, ff.202v-3:
Courante du sommeil (sie); Paris 15, f.187: Courante de gaultier le vieux; Paris 51,
ff.30v-1: n.t.; Rostock 54, P!J.276-7: Courante Gautier; Stockmans, No.167: Courante
95 99v Sar[abande, Mercure]
Oeuvres des Mercure, No.21; Bensbergh, No.62: n.t.;
Darmstadt 1655, f.53: n.t.; Krakow/Berlin 40626, f.60: Sarabande Merqure
104 107v-8 All[emande] Merc[ure]
Goëss V, ff.63v -62v(sic): Allemande C[ontre] P[artie]; Krakow Berlin 40637, p.3:
Allemande de Mercure la 2. partie. (For principal lute part, see Oeuvres des Mercure, No.4.)
105 108v-9 Cour[ante] deMerc[ure]
Oeuvres des Mercure, No.12; Goëss V, ff.62-61(sic):Courante (withcontrepartie)
107 113v-4 Gig[ue] du But
Oeuvres des Dubut, No.135
108 114v Sar[abande,LeMoyne]
Saiz 1, p.29: Sarabande de Mr Le M oyne transposee du theorbe, Saizl, p.287 (for theorbo)
109 120v-1 C[ourante] Gautier
Goëss I, f.14v-15 (no.11, above)
110 121 v-2 Alle[mande, Gautier, ‚Le Tombeau de L’Enclos’]
Oeuvres· du Vieux Gautier, No.11; Krakow/Berlin 40593, pp.34-5: Allemande Gautier;
Darmstadt 18,ff.8v-9: Allemande von der Lauten abgesetzt. Gautier (keyboard);
Poman, f.22:Allemande de Gaultier Tombeau de L’ Enclos
111 122v-3 [Courante, Gautier]
Schwerin 641, p.134: Courante Gauttier; Stockmans, ff.73v-4: Courante
112 123v-4 [Courante, Vieux Gautier, ‚Les lannes de Boisset’)
Goëss 1, ff.16v-17: Cour: du Vx: Gault (no 13, above)
SOURCES
Amsterdam Amsterdam, Toonkunst-Bibliotheek, Ms. 205-B-32
Barbe Paris, Bibi. Nationale ms. Res. Vmb.75 (c1685-95)
Bensbergh Lost? MS, modern ed.: F.J. Giesbert, Godfredus Bensbergh
Tabulaturbuchfür Laute, 1676 (Neuwied, 1970)
Berlin 40068 Berlin, Preuss. Kulturbesitz, ms. 40068 (c1655-65)
Blovin Prague,NarodniMuzeum,[Link].Kk84 (Rome 1676)
Brossard Paris, Bibi. Nationale, ms. Rés. Vm 7370 (c1672-82)
Brussels 10 Brussels, Cons. deMusique, ms. FA. VI. 10 (c1660)
Brussels 1037 Brussels, Bibi. Royale, ms. III. 1037 (1669-80)
ßrussels 276 Brussels, Bibi. Royale, ms. II. 276 ( c1670-80)
Darmstadt 1655 Darmstadt, Hessisches Landesbibl., Ms. Mus. 1655
(1653; photocopy of a lute MS destroyed in 1944)
Darmstadt 18 Darmstadt, Hessisches Landesbibl., Ms. Mus. 18 (keyboard
transcriptions of lute music, 1674)
Harvard Harvard Univ., Houghton Lib., Ms. Mus. 174 (cl650-80?)
Keller Paris, Bibl. Nationale, ms. Rés. Vmf.48 (c1660-70)
Krakow/Berlin 40626 Krakow, Biblioteka Jagiellonska (formerly Berlin,
Preuss. Staats-Bibl.) Mus. ms. 40626 (1658)
Krakow/Berlin 40637 Krakow, Biblioteka Jagiellonska (formerly Berlin,
Preuss. Staats-Bibl.) Mus. ms. 4063 7 (lute duets, c 1660-70?)
Kremsmünster 79 Kremsmünster Abbey, ms. L79 (cl690)
Leipzig 24 Leipzig University Library, ms. II.6.24 (cl 700-10)
Milleran Paris, Bibl. Nationale, Fonds Cons. National Rés. 823 (cl680-l700)
Monin Paris, Bibl. Nationalems. Vm7. 6212 (cl664-80)
Oeuvres de Bocquet Oeuvres de Bocquet, ed. A. Souris and M. Rollin (Paris: CNRS, 1972)
Oeuvres des Dubut Oeuvres des Dubut, ed. M. Rollin and J.-M. Vaccaro (Paris: CNRS, 1979)
Oeuvres des Mercure OeuvresdesMercure, ed. [Link].-M. Vaccaro (Paris: CNRS, 1977)
Oeuvres du Vieux Gautier Oeuvres du Vieux Gautier, ed. A. Souris and M. Rollin
(Paris: CNRS, 1966)
Oxford 617 Oxford, Bodleian Library., Ms. Mus. Sch. G.617 (c1690-1700)
Paris 15 Paris, Bibl. Nationale, ms. Rés. Vmd. 15 (cl670-80)
Paris 51 Paris, Bibi. Nationale, ms. Rés. Vmf. 51 (cl653)
Paris 6265 Paris, Bibliotheque Nationale, ms. Rés. Vm7. 6265 (cl700)
Poznan Poznan, University Library, Rkp. 7033 (c1700)
Prague 80 Prague, Narodni Muzeum, MS. II. Kk 80 (cl 700)
Reynaud Aix-en-Provence, Bibl. Municipale, ms. 147 (203)-R312 (cl650-60)
Rhetorlque Berlin, Kupferstichkabinett, Hamilton Collection, no.142
(Signatur 78 C 12)‚ La rhetorique des dieux‚ (c1652)
Robarts Llanhydrock House, Cornwall, Lutebook of Hender Robarts ( cl 654-68);
facsimile edition, ed. R. Spencer (Kilkenny: Boethius, 1978)
Rostock 54 Rostock, Univ. Lib., Mus. saec. ms. XVIll 18, 54 (c1670)
Saiz 1 Besancon, Bibl. Municipale Ms. 279152 Res. (1699)
Saizll Besancon, Bibl. Municipale Ms. 279153 Res. (1699)
Schwerin 641 Schwerin, Mecklenburgische Landesbibl., Ms. Mus. 641 (1651)
Stockmans Berlin, Preuss. Kulturbesitz, ms.40601 (cl675-90)
Schwerin 641 Schwerin, Mecklenburgische Landesbibl., Ms. Mus.
641 (1651)
Stockmans Berlin, Preuss. Kulturbesitz, ms.40601 (cl675-90)
NOTES
1. ‚The Ebenthal Lute and Viol Tablatures,‘ in Early Music (October 1982), pp.462-7
2. See W. Boetticher, Handschriftlich Überlieferte Lauten- und Gitarrentabulaturen,
RISM BNII (Munich, 1978), pp.36-7. This and Goess I seem to be the only sources of
Dufresneau’ s music. If the possible Dutch associations of the group 1 Goëss
manuscripts have any foundation, there may be a connection with the ‚Carolus
Margonne Dufresnoy Gallus natione, Parisiensis nativitate,’ who entered the University
of Utrecht in 1646. See Album Studiosorum Academiae Rheno-Traiectinae
MDCXXXVI-MDCCCIXXXVI (Utrecht, 1886).
3. See Constantijn Huygens, Musique et musiciens du XVJie siecle;
correspondence et oeuvre musicales, ed. W. J. A. Jonckbloet and
J.P. N. Land (Leyden, 1882); see also De Briefwisseling van Constantijn Huygens,
ed. J. A. Worp (The Hague, 1911-17).
4. See T. Crawford, ‚Allemande Mr. Zuilekom: Constantijn Huygens ‚s sole surviving
instrumental composition,‘ in Tijdschrift van de Vereniging voor Nederlandse
Muziekgeschiedenis, XXXVII (1987), pp.175-181.
5. In the article mentioned in footnote 4, andin ‚A composition for viola da garnba by
Constantijn Huygens,’ in Veelzijdigheid als Levensvorm: Facetten van Constantijn
Huygens’ leven en werk (Deventer, 1987), pp.79-88, I suggest that Q may have been
the uncle and guardian of the first Count von Goëss, the distinguished Imperial
diplomat, later Prince-Bishop of Gurk in Carinthia and subsequently Cardinal,
Johann von Goes (1611-96), who was involvedin diplomatic activity in Holland and
even owned property in The Hague and elsewhere. Thus he had the, opportunity to
collect the music in group 1, but there is no evidence thathe had any special interest
in music, let alone skill in its execution. Q was clearly an expert musician who
cultivated the company of professional musicians and played with them; in other
words, a person with a similar outlook to Huygens himself.
6. The full text of the title-page appears in Smith, ‚The Ebenthal Lute
and Viol Tablatures.’
7. Loc. cit.
8. Goëss ‚1740‘, ff.1 v-20r; Vienna, Österreichisches Nationalbibliothek
MS S.m. 1078, ff.15v-30r
GOËSS I / original size
fol. 6v - 9 bear no music
fol. 110v - 113 bear no music
114v
fol. 115v - 120 bear no music
TREE EDITION
