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CD CoverThe Loss of the Golden Rose Lute

  1. Ennemond Gautier: Allemande "The Loss of the Golden Rose Lute" 
  2. Jacques de Gallot:Suite A Minor 
  3. Christian de Bethune: Suite C Major 
  4. Denis Gautier: Suite D Major 
  5. Christian de Bethune: Suite A Minor 
  6. Claude Emond: Suite D Major 
  7. Charles Mouton: Suite A Major 
  8. Francois Couperin: Rondeau Les Baricades Misterieuses 
Sound Samples:
Track 1. Gautier: Allemande The Loss of the Golden Rose Lute
Real Audio | Windows Media
Track 5. Bethune: Suite A Minor
Real Audio | Windows Media
Track 8. Couperin: Rondeau
Real Audio | Windows Media

Add to Cart Loss of the Golden Rose Lute, F. Edgar Gilbert $15.99

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    Lute music from the English school of the Renaissance.

    Works by Dowland, de Countie, Sola, Holborne, Rosseter, Ferrabosco, Daniel, Byrd, Cutting, Phillips, Marchant, Bacheler, F. Edgar Gilbert, and more.

Sound Samples:
Track 2. Dowland: Galliard, Robin
Real Audio | Windows Media
Track 17. Marchant: Galliard, Walsingham
Real Audio | Windows Media
Track 22. Gilbert: Fancy, Mrs. Lee's
Real Audio | Windows Media

Add to Cart Rosamund, Lute Music, F. Edgar Gilbert $15.99

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About These CDs

F. Edgar Gilbert specializes in the music of English Renaissance and the French Baroque epochs.

His repertoire encompasses the apex of lute literature, featuring works by Dowland, Holborne, Daniel, Cutting and Bacheler. In suite form, Mr. Gilbert interprets the music of the Gautiers, Mouto, the Gallts, Bittner, the Reusners, Bethune, Hurel, Grenerin and others.

To complement his approach, Mr. Gilbert plays the theorbo and angelique, arch lutes seldom heard today.

Mr. Gilbert's original compositions have been performed by other lutenists. His two books, New Lessons for the Lute and Sequential Works for the Lute in Tablature, have been released by van Teeseling Music Publishers, Nijmegen, Holland.

His discography, released on the Eroica label, includes Rosamund, a collection of Elizabethan works representing the Golden Age, and The Loss of the Golden Rose Lute, which offers a glimpse of suites by eclectic French lutenists' from the reign of the Sun King (Louis XIV).

Lamentably, the contribution to the Baroque made by the 17th century lutenist composers of the French School has not been fully realized, quantified or understood.

Born in Villette in the region of Dauphine in 1575, Ennemond Cautier was to distinguish himself as a pre-eminent lutenist at the French court from 1600 until 1630, when he was sent to the English court to perform before King Charles I and Queen Henrietta Maria.

In the same year, his cousin Jacques Gautier, lutenist to the English court and instructor to the Queen, was released from the Tower after serving a three-year sentence for slander against the King. Upon his return to France in 1631, Ennemond, styled 'le vieux' by this time, retired to Neves in Dauphine, declining to return to royal service. His compositions were never published in his lifetime. It was thought that he guarded his works closely, imparting a piece or two to his other cousin, Denis, but not surprisingly a number of his works turned up in private manuscripts when Gautier died in Neves on 11 December, 1651.

Jacques de Gallot ('le vieux de Paris') was born about 1625 and studied with Ennemond Gautier. His father was probably Antoine Gallot, lutenist to the Polish court until his death in 1647. Jacques' brother Alexandre was known to their contemporaries as 'le vieux Gallot d'Angers'. His son Pierre was also a lutenist.
After spending some years outside his native France, Jacques de Gallot returned to Paris to give salon concerts and lessons. In 1684 he published his "Pieces de Luth Composees sur differens Modes...", dedicated to vice admiral Victor Marie Comte d'Estrees. In his introduction to the work he offers a brief method for the lute, as well as an advertisement suggesting the adaptation of his pieces for ensemble. Rene Milleran, interpreter to Louis XIV, names the Gallots as being among the most accomplished lutenists of their time. Jacques de Gallot died in Paris sometime after 1690.

Little is know about the life of Christian de Bethune. He appears to have been in attendance at the Swedish court around 1670. Also known as 'le cadet, he may have been related to the lutenist Michel de Bethune.

Denis Gautier ('de Paris') held no court appointments, unlike his cousins Ennemond and Jacques. He appears to have been associated with Charles Racquette, organist at Notre Dame, dedicating a "Pavanne" in Racquette's honor in his first book, "Pieces de Luth..." (1669).

The second work, Livre de Tablature..." was published after Denis' death in January of 1672 by his widow and a pupil, Montarcis. The association extended to the Gautiers' lutenist contemporaries, referring to their concordia as 'les lutheriens.'

The circle of formidable players, which included Rene Mesangeau, Francois Dufaut, Charles Fleury Blancrocher, Henri L'Enclos, Claude Emond, Dupres la Tour (d'Angleterre'), the duButs, Pinels, Bechons and others, formed the core of the French lute school, which emanated throughout Europe during the 17th century.

The life of the lutenist composer Claude Emond remains a mystery. His compositions frequent numerous 17th-century manuscripts across Europe. Milleran mentions him as one of the principal masters in Paris.

A contemporary of Jacques de Gallot, Charles Mouton was born around 1626. His birth date and his service in his youth at the court of Savoy in Turin are unsubstantiated. However, we do know that he apprenticed on the lute under Denis Gautier.

Again, it is necessary to rely on extant manuscripts to form an overview of Mouton's compositions. His printed works, all titled 'Pieces de Luth sur differens modes"... were published beginning in 1692 and numbered possibly four volumes, of which only the first two have been found to date. Living in the rue St. Antoine in Paris, Charles Mouton instructed notable pupils, including Rene Milleran and the accomplished lutenist Philipp Franz Le Sage de Richee. The painting of Charles Mouton by Francois de Troy hangs in the Louvre and presumably was the model used by Edelinck to execute the engraving given to Mouton in appreciation for teaching his daughter the lute. Charles Mouton's legacy is perhaps one for all 'les lutheriens', bringing to a close a century of unprecedented wealth of repertoire for the lute.

Francois Couperin came from a family of organists. His father Charles held the position at St. Gervais in Paris from 1661 until his death in 1679. Francois was eleven years old when he began his apprenticeship with Jacques Thomelin and eventually was appointed organist of St. Gervais in 1685.

In 1689, he married Marie-Anne Ansault. Couperin's title, 'sieur de Crouilly', acquired from his wife's family, appears on the title page of his only publication for the organ, "Pieces d'Orgue" (1690).

In 1693, Francois Couperin joined the ranks of Thomelin, Niver and Lebeg license and published the first of four books for solo harpsichord. It may be noted that several of his harpshicord works impart an initiate's knowledge of of the lute and are perfectly suited to the instrument's register. Furthermore, Couperin's colleague Niver was himself a notable lutenist. In 1717 Couperin was offered the post of King's harpsichordist. By the year 1722 he had released the "Concerts royaux" followed by "Les gouts reunis ou nouveau concerts" in 1724. Two years later, Francois' work "Les nations" was completed. By this time he had recruited his cousin Nicolas Couperin to assist him with his duties at St. Gervais. Francois Couperin's death on 11 September, 1733, left the position of church organist open for Nicolas to inherit.

Notes by F. Edgar Gilbert.

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