Scan 135
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
65 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1earliest of the Cambridge manuscripts) and one in the 'Dallis' Lutebook (EIRE-Dtc). Much of this music is for six-course lute, and no piece requires more than seven courses. His last work may well have been Sir fooke Greviles pavan, which was probably written no later than 1603. Cutting wrote in a close-textured manner and (particularly in the galliards) he made much ingenious use of imitation. His almaines are memorably tuneful and his toys and other trifles charmingly gay and lighthearted
3WORKS
4Editions Lute Music of Shakespeare's Time, ed W W Newcomb (University Park, Penn 1966) [N]
5F Cutting Selected Works for Lute, ed M Long (London 1968) [I]
7LUTE SOLO
8Bockingtons [Packingtons] Pound, Cuttings Comfort, Master Birds pavan [Pavan Bray, set by Cutting] Walsingham, 2 untitled almaines 2 untitled galliards, 2 untitled pavans 159620, all in N, 5 in I
9Sir Walter Rawleys galliard, 160311
111 Porters pavan [and galliard], GB-Cu 1 (pavan only)
12Groninge pavan, Cu, Ibm, I.
13Mrs Anne Markham's pavan [and galliard], Cu Gu, Ibm (3 copies), I
14Quadron [pavan], FRL-Dtc (doubtful authenticity see Long)
15Pavan Sans per [and galliard], GB-Cu (2 copies, 1 of galliard attrib phys), Gu, Ibm, I (pavan only)
16Sir fooke Greviles pavan, Cu, I.
17Almain, Cu, I
18Galliard D-IEdb (2 copies, 1 attrib 'Dulandt'), FRL-Dm (attrib Alfonso'), GB-Cu, Ibm, NT-Lu (attrib 'Hayes'), I
1912 galliards GB-Cu (some in 2 copies 1 attrib Dowland), Gu, Ibm Reading, Berks County Record Office, 4 in I
202 galliards [1 to the 2 untitled pavans in 159620 see above], Cu (1 anon, attrib Cutting by Long)
212 pavan and galliard pairs, Cu (1 galliard anon, attrib Cutting by Long) Gu, I (pavans and 1 galliard only)
224 pavans, Cu (1 in 2 copies, 1 after Morley's setting of Dowland's Iachimae, this setting attrib Bvrd)
236 other pieces, Cu Ibm 2 in I
25OTHER INSTRUMENTAL
26The new hunt sundry wares, bandora, 159620 N
27Short almain, 2 lutes, Cu, Ibm
28Galliard, bandora, Cu
29Untitled piece, 'treble to a ground, Cu
30For full details, sources and concordances see Long
32BIBLIOGRAPHY
33D Lumsden The Sources of English Lute Music (diss., U of Cambridge, 1956 7)
34R Newton 'Francis Cutting a Bibliography', L.SJ 1 (1959), 38
35I Nordstrom 'The Cambridge Consort Books', Journal of the Lute Society of America, v (1972) 70 103
36DIANA POULTON
38Cutting, Thomas (fl 1608-13) English lutenist He may have been a younger member of the same family as FRANCIS CUTTING. There are three letters concerning him in GB-I.bm Harl.6986 The first, from Queen Anne, dated 6 March 1607/8 and the second (undated) from Prince Henry are both addressed to Lady Arbella Stuart, and request her to release Cutting from her employment, and allow him to go to the court of the queen's brother, Christian IV of Denmark Lady Arbella replied on 15 March 1607/8 agreeing, although saying that she 'may have some cause to be sorry, to have lost the contentment of a good Lute' Cutting appears to have stayed in Denmark for about three years, at a salary of 300 dalers a year.
39He entered the service of Prince Henry in 1611, and was one of the musicians to whom an allowance for mourning livery was issued for the prince's funeral in November 1612. In February 1613 he was among the lute players who received £2 10s for playing in George Chapman's Masque of the Inner Temple and Lincoln's Inn during the celebrations for the marriage of Princess Elizabeth and the Elector Palatine.
41BIBLIOGRAPHY
42A Hammerich-Elling Musiken ved Christian den Tjerdes hof (Copenhagen, 1892)
43W P Balldon The Records of the Honourable Society of Lincoln's Inn the Black Books (London, 1897 1902)
44H C de Lafontaine The King's Musick (London, 1909/R1973)
45DIANA POULTON
47Cutts, John (fl 1665, d 'Lincoln, before 19 Nov 1692). English composer He was made junior vicar and poor clerk at Lincoln Cathedral on 31 May 1665. He appears to have spent most of his remaining life there, but was admonished in 1680 for leaving the city without permission. On 14 January 1684 he was made Master of the Choristers, though the chapter acts indicate that he lacked diligence in this office. An argument involving Cutts and his dog in the cathedral on 31 October 1689 led to his expulsion a few days later. However, on 1 April 1690 the dean and chapter resolved to establish 'two public consorts' each year and Cutts was appointed as instrumental teacher to the choirboys. He was reinstated as junior vicar and poor clerk, at the choir's request, on 11 November 1690
48Nine short solos for bass viol are in GB-Lcm II.f.10, and Lot 13 in the sale of Thomas Britton's library included lyra consorts by Cutts, but these are unknown today. Eight anthems by Cutts are in MSS at Lincoln including an eight-part setting of Almughly and everlasting God dated 1685. My days are gone is included in GB-Lbm Add 30478-9 and 34203
50BIBLIOGRAPHY
51A R Maddison 'Lincoln Cathedral Choir, 1640 1700', Associated Architectural Societies' Reports (Lincolnshire and Nottinghamshire), xxv 1 (1889) 41
52ANDRFW ASHBLE
54Cuvelier, Jo(hannes) [Jean, Jacquemart le Cuvelier] (b 'Tournai, fl 1372-87) French poet and composer. He was wrongly entered as Cuncler in F-CH 564. In 1372 he was a discurs of the King of France. According to the anonymous Règles de la seconde rhétorique he was called Jacquemart le Cuvelier, came from Tournai and was the faiseur of Charles V. In 1387 he completed a chronicle of the life of the High Constable Bertrand du Guesclin. Cuvelier's ballade En la saison, set to music by Hymbert de Salinis, is dedicated to Olivier du Guesclin, a cousin of Bertrand, and to Olivier's mother, Thomasse le Blanc. In addition, F-CH 564 contains three three-voice ballades by Cuvelier which he set to music himself Lorsque Arthus, Alixandre et Paris, Se Galaas et le puissant Artus (concerns Gaston Phébus, Count of Foix, d 1391), and Se Genevre, Tristan, Yssout (all ed. in CMM, lni/1, 1970). These instrumentally accompanied songs are prime examples of the very complex notational style of the ars subtilior.
56BIBLIOGRAPHY
57E Charrière, ed Chronique de Bertrand du Guesclin (Paris, 1839)
58E Langlois, ed Recueil d'arts de seconde rhétorique (Paris, 1903)
59J Wolf Geschichte der Mensural-Notation von 1250 1460 (Leipzig, 1904) [incl edn. of Se Galaas]
60A Pirro La musique à Paris sous le règne de Charles VI (Strasbourg, 1930)
61H Besselet Die Musik des Mittelalters und der Renaissance (Potsdam, 1931 3)
62A Pirro Histoire de la musique de la fin du XIVe siècle à la fin du XVIe (Paris, 1940)
63W Apel, ed French Secular Music of the Late Fourteenth Century (Cambridge, Mass, 1950)
64G Reaney 'The Manuscript Chantilly, Musée Condé, 1047', MD, viii (1954), 67
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