Music of Gallot le Vieux - Mateus

Music of Gallot le Vieux 

From the Barbe Manuscript, ca. 1690 

Edited by Kemer Thomson 

Tablature set using Fronimo, by Francesco Tribioli 

Copyright © 2006, Kemer Thomson

Index 

Preface 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) 3 

Courante [recte: Sarabande La pièce de huict heurs] 


[Canarie] Les Castagnettes 


[Allemande] L'Amant malheureux 


[Chaconne] La Montespan 


[Sarabande] Les Larmes 

Barbe, pg. 68 (F Major) 9 

Allemande Tombeau de Mr de Thurenne [ou Tombeau de Mars] 

Barbe, pg. 82 ( C Major) 10 

[Courante] La Coquette [ou La Grondeuse] 


[Bourreé] La Nopce 

Barbe, pg. 85 (C Major) 13 

[Courante] L'homme à bonne fortune 


[Allemande] La [belle] Lucrece 

Barbe, pg. 134 (f# minor) 15 

[Courante] La [belle] Villette 


[Sarabande] La Religieuse Portugaise 


[Gavotte] La Dauphine 


Sarabande [La Royalle] 


[Courante] L'Eternelle 


[Courante] La [fidelle] Tourterelle 


[Courante] La Nonpareille 


Dialogue [ou La Mouche, Chaconne] 

Barbe, pg. 190 (c minor) 24 

- ii -

The Barbe Manuscript 

Of 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 -

eproduction. 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 Thomson 

August, 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 -

1) 

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Music of Gallot le Vieux - Mateus

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