1. J. Worp, ed., De Briefwisseling van Constantijn Huygens (The Hague, 1911-17), v, nos. 5899, pp. 469-70 (17/27 August 1662) and 5901, pp. 470-1 (18/28 August 1662)


2. A. Simpson, ‘"Of a petty French lutenist in England" by Richard Flecknoe’, Lute Society Journal, 10 (1968), 33


3. Constantijn Huygens’s son Lodewijck heard Benjamin and John Rogers play harpsichord and lute in a consort of music by Benjamin together with a bass viol (perhaps played by the organist Christopher Gibbons, who was also present) and the violinist Davis Mell at the latter’s house in London in March 1652; see A. Bachrach and R. Collmer, eds, L. Huygens, The English Journal 1651-1652 (Leiden, 1982), 105.


4. Oxford, Christ Church MS 1236, no. 37, ff. 38v-9, ‘Corant la S[u]edois Mr. Ben [altered from John] Rogers London’; No. 45 in the CNRS edition.


5. Uppsala Univ, Instr. mus. hs 409, no. 169, ‘3. Courant La Reijne de Suede de Mons: Lahaeij’; J. Mracek, ed., Seventeenth-century instrumental dance music in Uppsala University Library Instr. mus. hs 409 (Stockholm, 1976), Musica Svecica Saeculi XVII, 5, pp. 216-7.


6. CNRS Mercure edition no. 1, p. 108.


7. Kalmar 21072; CNRS Dufault edition no. 132.


8. Ottobeuren, Germany, Benediktinerstift, Musikarchiv, MS MO 1037; published in facsimile: R. Hill, ed., Ottobeuren, Benediktiner-Abtei Bibliothek und Musik-Archiv MO 1037 (New York and London: Garland, 1988), Seventeenth century keyboard music: Sources central to the keyboard art of the Baroque, 23


9. Kremsmünster Abbey, MS L79, f. 75, n.t.; Brussels, Bibliothèque royale, MS II 276, ff. 37v-8, n.t.; Schloss Ebenthal, Goëss MS II, ff. 8v-9, ‘C[ourante]’


10. M. Locke, The Little Consort (London, 1656), preface.


11. Christiaan Huygens, Oeuvres complètes. Tome premier: Correspondance 1638-1656 (The Hague, 1888), no. 235, pp. 348-351.


12. H. Brugmans, Le séjour de Christiaan Huygens à Paris ... suivi de son journal de voyage à Paris et à Londres (Paris, 1935), pp. 175-6.


13. W. Jonkbloet & J. Land, Musique et musiciens au XVIIe siècle. Correspondance et oeuvre musicales de Constantijn Huygens (Leiden, 1882), no. 58, p. 48.


14. I am inclined to be very cautious about the pieces credited to ‘dafo’ in the lutebook of the Scottish lady, Margaret Wemyss; there are no concordances with reliably-ascribed Dufault pieces among them, and two have concordances with music by other lutenists (see CNRS Dufault edition, p. XL, ‘Pièces d’attribution douteuse’).


15. See F. Lesure, Bibliographie des éditions musicales publiées par Estienne Roger (Paris, 1969).


16. CNRS Dufault edition, no. 77; Suittes faciles, no. 18, ‘Allemande de Mr du Fau’


17. Berlin, Preussischer Kulturbesitz, MS 18380, p. 64; J. Jaenecke, ed., Esaias Reusner, Neue Lauten-früchte, facsimile edition (Leipzig, 1979).


18. CNRS Dufault edition, p. XXXIX, fn. 28.


19. K. Koletschka, ‘Esaias Reussner der Jüngere und seine Bedeutung für die deutsche Lautenmusik des XVII. Jahrhunderts’, Studien zur Musikwissenschaft, 15 (1928), p. 6


20. Goëss MS V, ff. 38v-9; cf. Gallot, CNRS edition, no. 81. The dedication to Dufault, not present in the CNRS edition’s primary source, Leipzig MS II 6 14, also appears in another MS not mentioned in the edition, Krakow/Berlin MS 40620, ff. 95v-6, ‘les larmes de Gallotte de Monsur [sic] Faut’.


21. Darmstadt Mus 17, f. 9v, ‘Sarabande’


22. Rochester, Sibley Music Library, MS Vault M2.1.D172 (c.1711), pp. 81-2, ‘Tombeau du Roy d’Orange’


23. Brussels, Bibliothèque royale, MS II 276, ff. 41v-2 (Music example 5a); Brussels, Bibliothèque royale, MS III 1037, ff. 14v-15; Darmstadt, Hessisches Landesbibliothek, MS 1655, ff. 44v-5; Kremsmünster, Benediktinerstift, MS L79, f. 126; Schloss Ebenthal, Goëss MS II, ff. 9v-10


24. The manuscript, which was burnt in World War II, and is only known from a microfilm copy held at the same library, bore the ownership signature of Johann Peter Roth and is said to have been dated 1653, although the date cannot be verified from the microfilm. (See C. Meyer, Sources manuscrites en tablature: Luth et théorbe (c.1500-c.1800) Catalogue descriptif, ii (Baden-Baden & Bouxwiller: Koerner, 1994), pp. 73-76.)


25. Brussels II 276, f. 3, [Sarabande], which appears in five mid-17th-century sources without composer attribution; it is very similar to an anonymous sarabande in Kremsmünster MS L81, f. 43v, and another sarabande attributed to ‘Mons. J. Hear’ (? presumably Jean Héart, 1592-c1649) in Berlin MS 40068, ff. 50v-51. A complete list is given in R. Spencer, ed., Livre de luth d’Albrecht Werl (Geneva: Minkoff, 1990), p. 34, no. 20. Note that these correspondences do not absolutely rule out Dufault’s possible authorship.


26. CNRS Dufault edition, nos 17, 20, 30, 31, 42, 43, 64, 65, 66, 78, 83, 84, 85, 100, 102, 116, 119, 121, 130, 147, 148, 156, 161


27. P. F. Le Sage de Richée, Cabinet der Lauten (Breslau, 1695), [preface] ‘Geehrter [sic] Leser’: ‘Was du in meinem Cabinet sehen wirst, ist nach den Grund-Regeln der berühmtesten Meister Messieurs Du Faut Gautier, und Mouton eingerichtet, welchen letztern ich selber gehöret, auch das Glück gehabt sein Lehrling zu seyn ...’


28. Private communication, May 1998. I should like to express my gratitude to M. Goy for his help and encouragement in the preparation of this paper, which was partly inspired by his paper, ‘Les luthistes français dans les sources germaniques’ (unpublished), read at the S.L. Weiss Congress, Freiburg, September 1992.


29. As an obvious example, Robert de Visée quotes in this way from Jacques Gallot’s allemande ‘Les plaintes de Psyché’ (CNRS Gallot edition, no. 99) in his own ‘Tombeau du Vieux Gallot’ (Besançon, Saizenay MS I, p. 55; R. de Visée, Pièces de théorbe et de luth (Paris, 1716/R Madrid, 1983), p. 33, ‘Allemande’.) I have been unable to detect any such quotation in Du Pré’s tombeau for Dufault (Paris, Milleran MS, ff. 15v-16; Kremsmünster L79, ff. 104v-105).


30. See K. Sparr, ‘Hinrich Niewerth - lutenist at the Royal Swedish court’, The Lute: The Journal of the Lute Society, xxiv/2 (1984), pp. 69-75.


31. Sparr, op. cit., pp. 71-2 and Fig. 4, p. 75


32. Formerly Danzig Stadtbibliothek MS 4230, now in the possession of the Deutsche Staatsbibliothek, Preussischer Kulturbesitz, Berlin. This source will be the subject of a forthcoming article by the author. Again, my thanks are due to François-Pierre Goy for his identification of much of the music therein.


33. Schloss Ebenthal, private library of Count Leopold von Goëss, MS V (facsmile ed. T Crawford, Munich: Tree Edition, 1990), ff. 79-71v (reversing the volume; the first and second lute parts appear on facing pages and inverted so that they can be read by players sitting opposite one another)


34. Paris, Bibliothèque nationale, Rés. Vmc ms. 61, all on f. 46v: ‘Le Parnasse Allemande de Nivert’, ‘Courante de Nivert’ and ‘Sarabande du mesme’.


35. See J. Tichota, ‘Francouzská loutnova hudba v Cechách’, Miscellanea Musicologica, 25-6 (Prague, 1973), pp. 7-77.


36. Prague, Lobkowitz collection, MS II Kk 80


37. Prague, Lobkowitz collection, MS II Kk 84


38. See T. Crawford, ed., The Goëss lute manuscripts V (c1680-1700) (Munich, 1990), Introduction, p. 10, for a list of manuscripts in Blovin’s hand.


39. A. Souris and M. Rollin, eds, Oeuvres de Dufaut (Paris: CNRS, 1988)


40. R. Flotzinger, Die Lautentabulaturen des Stiftes Kremsmünster (Vienna, 1965), Tabulae musicae Austriacae, ii, p. 40.


41. Rostock, Universitätsbibliothek MS mus. saec. xvii 54; published in facsimile: K.-P. Koch, ed., Französische Tänze und Arien für Laute (Leipzig: Zentral Antiquariat der DDR, 1983).


42. J. Pohanka, Jan Antonín Losy: Pièces de guitare (Prague: Supraphon, 1979), Musica antiqua bohemica, xxxviii, no. 13, p. 11. See E. Vogl, ‘The lute music of Johann Anton Losy’, Journal of the Lute Society of America, xiv (1981), pp. 5-58, thematic catalogue, no. 79; see pp. 7-10 for a discussion of the guitar music.


43. Prague, Lobkowitz collection, MS II Kk 77


44. Again credit should go to François-Pierre Goy for the recognition of these by no means obvious Dufault arrangements. The two versions (in different keys and metres) may derive from two distinct tablature settings; there seem to be some similarities between the guitar arrangement given here (music example 8c) and the D major violin version (8d).


45. Klagenfurt, Landesmuseum für Kärnten, Inv. Nr. M73.


46. A. Koczirz, ‘Österreichische Lautenmusik zwischen 1650 und 1720’, Studien zur Musikwissenschaft, Beihefte der DTÖ, v (1918), pp. 72-74.


47. Tichota, op. cit., p. 37.


48. Ibid., pp. 37-8.


49. CNRS Gallot edition, no. 98


50. See T. Crawford, op. cit, pp. 10-11, for a list of tablature manuscripts in Bohr’s hand.


51. A. Koczirz, ed., Wiener Lautenmusik im 18. Jahrhundert, Das Erbe deutscher Musik, Landsschaftsdenkmale der Musik Alpen- und Donau-Reichsgaue, Band 1 (Vienna, 1942), ‘Vorwort’.


52. R. Flotzinger, loc. cit.


53. ‘Der Herr Bohr is Kayserlicher Hoff-Lautenist, weil er aber mit seiner Sachen sehr rahr, so kennet man ihn weiter nicht, als aus dem Wiennerischen addres-Calendar.’; translation from D. A. Smith, trans., E. G. Baron, Study of the lute (Redondo Beach, 1976), p. 69.


54. Koczirz, ‘Österreichische Lautenmusik’, p. 74.


55. Ibid., pp. 54-60.


56. Radolt, Aller Treueste ... Freindin (Vienna, 1701), Erste Lauten, p. 1, ‘Geneigter Leser ...’: ‘... Weillen die Regulen dess Contrapuncts in disen Werckhlein auf dass genaueste beobachtet werden ...’


57. Loc. cit.: ‘Die Manier aber und Art dess Du Faut, so vill möglich, nachgefolget, dan diser büllich der Vornembste: und bester Meister der Lautten kan genennet werden.’


58. Ibid., p. 56, ‘Sarabande / B: R:’’


59. Burwell Tutor, f. 68v


60. Ibid., f. 5v.


61. Brussels II 276, ff. 46v-48, ‘Pauanne’.