Anthony Bailes - Gaultier: Apollon Orateur (2009)

Tracklist

01. Pièces en Sol Majeur: I. Prélude
02. Pièces en Sol Majeur: II. Pavane ou Tombeau de Mr. Raquette
03. Pièces en Sol Majeur: III. Courante et double
04. Pièces en Sol Majeur: IV. Courante
05. Pièces en Sol Majeur: V. Courante et double
06. Pièces en Sol Majeur: VI. Gigue
07. Pièces en Sol Majeur: VII. Sarabande
08. Pièces en La Mineur: I. Prélude
09. Pièces en La Mineur: II. Pavane
10. Pièces en La Mineur: III. Courante et double
11. Pièces en La Mineur: IV. Allemande (Tombeau de Lenclos)
12. Pièces en La Mineur: V. Sarabande
13. Pièces en La Mineur: VI. Sarabande
14. Chaconne en Do Majeur
15. Pièces en Fa Majeur: I. Appolon Orateur
16. Pièces en Fa Majeur: II. Courante
17. Pièces en Fa Majeur: III. Courante et double
18. Pièces en Fa Majeur: IV. Sarabande, Diane au bois
19. Pièces en Fa Majeur: V. Canarie
20. Chaconne en Fa Majeur
21. Pièces en Si Mineur: I. Prélude
22. Pièces en Si Mineur: II. Allemande grave (Tombeau de Gautier par luy mesme)
23. Pièces en Si Mineur: III. Courante
24. Pièces en Si Mineur: IV. Courante
25. Pièces en Si Mineur: V. Sarabande

The association of Denis Gaultier with Apollo in a 17th c. lute manuscript is not as audacious as it might at first appear: the lutenist was held in great esteem by his contemporaries; indeed, for many he was the embodiment of genius on the lute, the “nonpareil”, and one of the very few capable of “speaking” to his listeners. At first glance, his compositions seem little different from those of his collegues, but further examination reveals a sophistication unparalleled in any other lute music of the period. One is immediately struck by the economy of the writing, in which no note is superfluous and the musical structure reduced to its essence. This minimalist approach is even more apparent in later, published versions which show subtle traces of revision. Denis Gaultier exploited the instrument to the full, and in doing so take the art of lute-playing to a realm undreamt of by elder colleagues. His music placed great demands on the lutenist, lute and listener alike for, knowing what could be achieved, Gaultier chose to push the instrument to its limits, and everyone else along with it.

Close examination reveals these works to have a sophistication unparalleled in any other lute music if the period. One is immediately struck by the economy of the writing in which no note is superfluous and the musical structure is reduced to its essence. The music places great demands on the lutenist.

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