Works
Denis and Ennemond are confused in many contemporary manuscripts and prints, leading to numerous attribution problems. A number of pieces are signed simply with the surname, some are attributed to Denis in one collection and to Ennemond in another, and still others are now known to have been be misattributed. Gaultier's output, as is to be expected from a 17th-century French lutenist, consists mainly of dance suites for the lute. In general, Gaultier was a masterful melodist, effortlessly writing graceful melodic lines with clear phrase structures, but his music is less inventive harmonically than that of some other French lutenists of the era, such as René Mesangeau or Pierre Dubut.
Three published collections of Gaultier's music have come down to us, all from his late years. La rhétorique des dieux (1652) contains 12 parts, each named after one of the Greek modes, but the actual harmonic procedures of the pieces are not connected to the modes. Many of the pieces reference Greek mythology. The collection, compiled under the patronage of Anne de Chambré, also contains engravings after Le Sueur, Abraham Bosse and Robert de Nanteuil. Two other collections, Pièces de luth sur trois différens modes nouveaux (c. 1669) and Livre de tablature de Mr. Gaultier Sr. de Nève et de Mr. Gaultier son cousin (c. 1672) both begin with basic instructions on lute playing. All three manuscripts consist principally of dances. The one other genre Gaultier made an important contribution to is the tombeau.
An adequate assessment of Gaultier's music and influence is difficult due to attribution problems. According to recent research, La rhétorique des dieux may consist of works not composed by Denis Gaultier, or original works by him changed by unknown scribes. The 1672 collection was completed after Gaultier's death by his pupil Montarcis, and contains music by two different Gaultiers. Other pieces, found in various manuscripts, also pose numerous attribution problems. Nevertheless, Gaultier was an important exponent of the French style brisé, and as such an influence on harpsichordists such as Johann Jakob Froberger. Around 1680 a few of Gaultier's works were included in anthologies by Perrine, a French theorist who experimented with the writing of lute music in staff notation.
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