MOUTON, CHARLES / JACQUES DE GALLOT Une Douceur Violente. Anthony Bailes. Ramee

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Mouton Charles Jacques De Gallot Douceur Violente Anthony Bailes Ramee

UNE DOUCEUR VIOLENTE

Lute Pieces

JACQUES DE GALLOT (c. 1625-1690) & CHARLES MOUTON (1616-c. 1699)

Anthony Bailes – lute

1. Pièces en la mineur. 1. Prélude 1:41

2. Pièces en la mineur. 2. Allemande Le Bout de l'An de Mr. Gautier 3:32

3. Pièces en la mineur. 3. Courante La Cigogne 2:14

4. Pièces en la mineur. 4. Gigue Le Dogue d'Angleterre 2:02

5. Pièces en la mineur. 5. Sarabande La Pièce de huit heures 2:39

6. Pièces en la mineur. 6. Canarie Les Castagnettes 1:45

7. Pièces en la mineur. 7. Gavotte La Jalousée 1:19

8. Pièces en la mineur. 8. Folies d'Espagne 5:03

9. Pièces en sol mineur. 1. Prélude 0:26

10. Pièces en sol mineur. 2. Apollon (from Le Triomphe de l'amour) 2:52

11. Pièces en sol mineur. 3. Chaconne Gloire d'Atys (from Atys) 1:21

12. Pièces en sol mineur. 4. Air Sommes-nous pas trop heureux, belle Iris (from Ballet de l'Impatience) 1:46

13. Pièces en do majeur. 1. Allemande 2:18

14. Pièces en do majeur. 2. Courante 1:21

15. Pièces en do majeur. 3. Gavotte 1:00

16. Pièces en do majeur. 4. Gavotte Vous savez l'amour extrême (from Ballet des Muses) 2:29

17. Pièces en do majeur. 5. Menuet (from Le Triomphe de l'Amour) 1:00

18. Pièces en do majeur. 6. Menuet (from Andromède) 1:34

19. Pièces en fa mineur et do majeur. 1. Allemande Tombeau de Mr. le Prince de Condé 6:05

20. Pièces en fa mineur et do majeur. 2. Chaconne La Comète 6:04

21. Pièces en fa mineur et do majeur. 3. Gavotte La Quoquette 1:54

22. Pièces en la mineur. 1. Prélude 1:16

23. Pièces en la mineur. 2. Allemande Tombeau de Gogo 3:48

24. Pièces en la mineur. 3. Courante et Double 3:03

25. Pièces en la mineur. 4. Sarabande La Princesse 1:59

26. Pièces en la mineur. 5. Chaconne 2:14

27. Les Plaintes de Psyché 4:58

Despite being the two last important representatives of a school of lute playing dominated by Ennemond and Denis Gaultier (cf RAM 0904), neither Jacques de Gallot nor Charles Mouton can be accused of

having simply “kept the flame alive”. Though both publicly acknowledged their debt to the Gaultiers, their own music displays originality and cannot be considered a shallow imitation, despite adhering to principles laid down by this revered dynasty. Of the two, Mouton’s music is nearest in style to that of the Gaultiers and nowhere is this more evident than in the doubles composed to some of their courantes.

These fit so well that it is hard to believe that they are the work of a different hand. Jacques de Gallot’s music in contrast represents a distinct departure from the earlier style. The perfection of his music is

illustrated by his pupil Johann Armand von Uffenbach: “no harmony of any sort of music, be it as perfect as it may, can compare to that of this soloist”.

Ramee RAM1104

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