…The Burwell lute tutor states: "[On] other instruments we sing, but on the lute we speak". That is exactly what Bailes does, and in a very eloquent manner.
Compiled between about 1620 and 1650 by the Munich painter Albrecht Wörl, this manuscript collection of early 17th century baroque lute music includes dances and song settings by many of the earliest generation of lutenist-composers working in the ‘new tunings’ (accords nouveaux). Wörl’s ability to notate the pieces he collected with accuracy seems to have been severely hampered by the rapid degradation of his eyesight. Because of this, and the fact that Wörl’s lute book contains many unique anonymous works, this manuscript, which is full of beautiful music has been overlooked for far too long. Canadian lutenist Evan Plommer presents reconstructed and revitalized versions of 36 pieces in 5 different tunings for baroque lute, including Wörl’s elaborations as well as those of his own making.
The new solo album of Toyohiko Satoh, the 72 year old Japanese lutenist who is considered my many as one of the most influential lute players of the last century, presents a well-known repertoire of baroque lute music. Mr. Satoh was the first lutenist to record Bach’s lute music on LP in the 70s (Phillips). Now he returns to this music 40 years later, delivering a completely different rendering of these iconic pieces. His playing has been influenced much by his studies of traditional Japanese arts such as tea ceremony, No-theater and Zen meditation. So here we are presented a recording that draws from the deep silence within, from the awareness of everything in the universe being connected, and from the understanding of Bach’s music as a universal, almost superhuman symbol of completeness.
Marco Dall’Aquila lived from 1480 to 1544, a period in which the lute made a substantial development: from the monodic use of the plectrum as used in the Middle Ages to a more complex and polyphonic use on an increased number of strings in the Renaissance. The repertoire on this disc contains Ricercars, Fantasias and a number of dance forms, conjuring up the atmosphere of the courts and palaces in which this stately and noble music must have resounded.
From the reign of Henry VIII and onwards, the lute and its practitioners enjoyed the patronage of the very highest English society. Henry played the lute himself, as did his daughter Elizabeth I, who during one period employed as many as five lutenists at her court. In 1603, when she was succeeded on the throne by James I, the tradition was maintained: with his appointment of John Dowland the king increased the number of royal lutenists, while his queen, Anne of Denmark, played the lute herself. This royal enthusiasm for the lute influenced the aristocracy, and an English style of lute music was established.