Josse, Guillaume et Jean Baptiste Joseph Boutmy, pièces pour clavecin intreprètées par Godelieve Smets sur clavecin Hass
Harpsichord built by K. Kauffmann, Brussels after H. Hass, 1734
Released 1968 (source Worldcat.org) by Alpha Brussels order number DB 161
in the series Clavecin à la chapelle Royale de Charles de Lorraine.
Year of release not indicated but the liner notes are signed in 1968

Face A
1. Suite en D minor Josse Boutmy (1697-1779) 12’50
00:00 Ouverture: Maestoso
02:38 Allegro
04:32 Allemande
07:18 Allegro
09:10 Rondeau
10:24 Minuet I
11:18 Minuet II

2. Sonata VI in B flat major Guillaume Boutmy (1723-1791) 7’12
12:50 Allegro non tropo
16:09 Siciliana
18:27 Allegro

Face B
3. Suite in C- minor Josse Boutmy 15’08
19:59 Ouverture: Maestoso
22:17 Vivace
24:30 Andante
26:34 La Coureuse
27:57 Allemande
29:36 Courante
30:29 Sarabande
32:01Minuet I
32:35 Minuet II
33:44 Gigue

4. Divertissement III in C major Jean Baptiste Joseph Boutmy (1725-1794) 7’24
35:06 Allegro
37:51 Pastorale
39:55 Menuetto

The present record consists in harpsichord pieces by three
composers by the name of Boutmy, descendents of an aristocratic
farnily, whose origins reach back to the time of the
Crusades, and who lived in Ghent since appr. 1644.
During three generations, they became a true dynasty of musicians,
who entered the service of well-known courts, princely
chapels or important families, be it in Belgium, in the Nethelands,
in France, in England or in Germany. The most conspicuous
member of the family, whlch was also related to the
Loeillet and the Vicidomini, is Charles Joseph Judocus Boutmy,
known as Josse Boutmy (1697-1779), one of the sons ‘of the
organist from Ghent, Jacques I. Boutmy.
An organist, harpsichordist and composer, Josse has left us
numerous works. His activities as a harpsichord teacher in
Brussels exterted some influence upon the harpsichord school
that developed there during the middle of the 18th century.
On January 1st, 1736, he entered the service of the Prince von
Thurn und Taxis, at Brussels, and became the teacher of the
princess and of the members of the court. From 1744 until 1777
Josse Boutmy was active as the organist of the Court Chapel.
As a celebrated harpsichordist and organist, and as a harpsichord
teacher of the Prince of Arenberg he left us, amongst other
works, three collections of harpsichord pieces, whlch he dedicated
to the Prince von Thurn und Taxis and to the Duke
Charles of Lortaine.
In these pieces, he appears as a sensitive and distinguished
composer, after recalling Couperin and Rameau, sometimes even
Hande!. His last colleetion betrays a certain influence from
Italy. His very long carreer helps to explain same stylistic
discrepancies and the succession of various influences.
He was married twice, first to Catherine Janssens, then to
Catherine Philippine, Barones van Katzmann. He had a total
of sixteen children, three of hls sons following the example of
their celebrated father. From his first wedding Guillaume
Boutmy (1723-1791) was born in Brussels, where he worked
as a postal survivor in the service of the Prince Alexandre
Ferdinand von Thurn und Taxis. Nevertheless, he was also a
composer, and we know his «Sei Sonate / per il Cembalo /
Dedicate / all’ A.S. del Sigr. / Principe de la Torre e Taxsis ”
etc. etc. / Cavaliere del Tozone d’Oro / Composte da G.
Boutmy Figlio amatore di musica / Brusselles ». These pieces
are wholly influenced by the graceful mannerisms of the Italian
Sonatas which, by then, were most fashionable, and they can
sometimes be compared to the art of D. Scarlatti.
Guillaume’s brother, Jean Baptiste Joseph Boutmy (1725·1794),
also called Léonard, -was a harpsichordist in Metz in 1747. In
1755 he was organist of the St. Gudula an,d St. John’s Church
in Ghent; on December 16th, 1757, he succeeded Dieudonné
Raick at the organ of the St. Bavo Cathedra!. In 1759 he was· in
Paris, and in 1764 he settled down at The. Hague, where he
entered the service of the Portuguese ambassador, Petrus da
Costa de Almeida Salema, who had his own musical chapel.
His «Six Divertissements pour Ie CIavecin» were published at
The Hague in 1769 with a dedication to The Prinee of Orange Nassau.
The slow movements are of the mannered style, where
as the Minuets may be compared to the many similar pieces by e. Ph. Em. Bach.
After having lived at The Hague for some years, the composer
left for Cleve where he died in 1794.
The Hague, July 1968.
Edouard I.C. BOUTMY.

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