Prelude Mouton

[Charles] Mouton

MS II KK 80 p. 107

edited by Clive Titmuss

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MS II K

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eedited by Clive Titmuss

pp. 118-119 (concordance with Barbe MS 184)

Prague MS II KK80

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La Belle Melancolique, Sarabande de Mouton

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edited by Clive Titmuss

Prague MS II KK80 pp. 120-121

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edited by Clive Titmuss

Prague MS II KK 80, pp. 124-5

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live

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MS II K

K 8

0, pp. 126-7

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Prague MS II KK 80, pp. 128-9

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edited by Clive Titmuss

Prague MS II KK 80, pp. 130-1

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edited

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live

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uss

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gue

MS II K

K 8

0, pp. 108-1

15

fin d

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raison funb

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g R g e fX gY?

-4-

Foreword to Pieces in B minor from the Prague MS KK 80

By Charles Mouton

Edited by Clive Titmuss

The pieces from the large Prague MS collection of music for 11-course lute are likely to be those which Mouton never

managed to publish. Its also possible that they had been published, but have since been lost. (My copy of a foreword to

the second book by Michael Schffer mentions that a catalogue by Etienne Roger, Amsterdam, 1716 lists four books.)

Having published two books (P

ice

s d

e L

uth

sur

dif

fre

nts

Mod

es, undated, probably 1698 or 99), is seems likely that

this MS would form the basis of another, as the modes, with the exception of C minor, are not used in the other books.

The first book contains pieces in A minor and C minor, the second, pieces in F sharp minor and A major.

The Prague MS contains pieces in C minor (including Moutons versions of unique C minor pieces by Denis Gaultier,

many with doubles), G minor, and a remarkable group of pieces in B minor. This key requires the tuning of the lowest

string of the lute to B, and because of its particular harmonic vocabulary, it requires many stopped notes on the second

and fourth frets, resulting in frequent bar positions. This feature, combined with the generally low tessitura, colours the

sound of the instrument in a way that was significant for other composers as well, beginning with Dufaut (the great

Pa

vann

e in the Saizenay MS) and Denis Gaultier.

The latters pieces, found as the last works in the second of Gaultiers two lute books (L

ivre

s d

e T

abla

ture

des

Pi

ces

de

Lu

th, c. 1680) form a significant model for Moutons B minor pieces. The funereal atmosphere is found in both

composers works, with Gaultiers

All

eman

de

Gra

ve, and G

igue,

ou

To

cxin being notable examples. Mouton obviously

sought to honour his esteemed teacher in his choice of texture and material in writing the extraordinary L

Ora

iso

n

fun

bre

de

Mr.

Ga

uti

er (the funeral oration for M. Gautier). This piece begins as an Allemande in the form of a

Tombeau, then presents short segments in each of the common dance forms of the lute music of the period: Sarabande,

Canarie, Gavotte, Courante, Gaillard, Menuet, Passacaye, Gigue. The piece modulates through a closely related cycle of

keys, incorporating the sophisticated melodic and harmonic features which we associate with Mouton.

The style of the music is coherent and abstract, with finely judged formal and melodic details, a profusion of ornaments

and subtle features unique to Mouton. In the other pieces in the group, Mouton appears to anticipate a re-union with

Gautier in the after-life in L

heu

reu

se r

enco

ntr

e, perhaps remem

bering old times in L

es j

um

au

x, j

aco

nn

e de

Mo

uto

n (the

twins, chaconne), commiserating in L

a B

elle

Mel

an

coli

qu

e (the beautiful melancholy one), concluding with a final

Gavotte, L

a S

ince

rre, attesting to the heartfelt friendship.

In editing this music I have tried to create what might be called a typeset facsimile. While the common process of

making photographic reproductions of lute MSS and prints produces a great feeling of oneness with the medium and

message of the composer, it has drawbacks. In the case of the Prague MS, the script is usually clear and precise, but not

always easy to decipher rhythmically. I tried to clarify this editorially on occasion without indicating it. Though the

music has been published in an edition by CNRS (viz.), such a large collection does not suit everyone.

The classical economy of means which Mouton employs mean that one must know that he never notates the use of the

fourth finger of the left hand. Any note which is not otherwise fingered or open is played with that finger. The original

copyist was almost always consistent in this. If not, I have not disturbed the original. Similarly, I did not change any of

the fingerings or ornaments. In the Allemande de Mouton, m. 3, between the third and fourth beats, there was a

superfluous letter c on the the sixth course. This is only outright error in the tablature. Any other that you may find

would be mine.

The notation of bar positions, ornaments and other technical features is exemplary. Taking other French lute books as a

model, I have used a landscape orientation and a font taken from a contemporary source. The music is much easier to

read and enjoy when the notation is perfectly clear, so I felt it was worth the effort to produce this edition.

Clive Titmuss, September, 2005