Author Topic: Recordings for lute and related instruments  (Read 147287 times)

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Offline Mandryka

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Re: Recordings for lute and related instruments
« Reply #520 on: August 12, 2021, 08:48:38 AM »


I just find this enthralling. Fentross has two great Dowland recordings.

Be sure to try Massimo Lonardi’s Dowland too! Just lovely stuff. Voluptuous, languid. Calm, luxe, volupté.
« Last Edit: August 12, 2021, 09:07:34 AM by Mandryka »
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Offline milk

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Re: Recordings for lute and related instruments
« Reply #521 on: August 13, 2021, 04:11:36 AM »
Be sure to try Massimo Lonardi’s Dowland too! Just lovely stuff. Voluptuous, languid. Calm, luxe, volupté.
Thanks. I will.

Offline milk

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Re: Recordings for lute and related instruments
« Reply #522 on: August 31, 2021, 03:31:42 AM »


Fluid, delicate, sweet, relaxed, Massimo Lonardi manages to find the dreamy side of Dowland without completely losing sight of the dance - dances of the soul, not the feet, in Lonardi’s hands. The sound is is a bit distant and diffused, but one adjusts.
Yes. I gave this some time but I'm finding it to be deeply rewarding. It's a dreamier Dowland as you say.

Offline Mandryka

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Re: Recordings for lute and related instruments
« Reply #523 on: September 23, 2021, 12:09:16 AM »
I first discovered Massimo Marchese through this lovely recording with soprano Nadia Caristi- she has a beautiful pure voice, the cd is a great discovery for me




I’m now exploring his collection of music by Francesco Spinacino, a cycle of complex and stimulating ricercari à la Vincenzo Galilei



« Last Edit: September 23, 2021, 12:25:45 AM by Mandryka »
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Offline Mandryka

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Re: Recordings for lute and related instruments
« Reply #524 on: September 30, 2021, 11:07:41 PM »


This 1976 recording of music by Denis Gaultier by Hopkinson Smith is (according to Discogs) his first solo release.

The tempos are slow and the articulation is jolting and unfluid, at the emotional level everything is somber. The way Smith plays first two suites makes them sound like complex technical exercises to me. The last suite on the CD, which happens to be the last suite in the manuscript, is better.




This recording by Hopkinson Smith was made 12 years later in 1988 (Discogs again) and is dedicated to music by Ennemond Gaultier.

What a difference! There's a fluid lyricism, a sense of impredictable rhythm, a variety of timbre and attack, a wide range of complex bitter-sweet emotions.

Back to the Ennemond (vieux) Gaultier, very lyrical and simplified - the bass a sort of continuo for the song in the treble. Very beautiful and meditative. The sound’s OK - probably too much bass, but it’s not a deal breaker.
« Last Edit: September 30, 2021, 11:09:16 PM by Mandryka »
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Offline Mandryka

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Re: Recordings for lute and related instruments
« Reply #525 on: October 15, 2021, 12:06:44 AM »



Today I listened maybe for for the first time to the John Johnson half of this CD. I think Genov is a bit matter of fact in this music, if he is doing any major poetic embellishment they sounded so natural to me that I hardly noticed. From my point of view that’s a positive in fact!

The real interesting thing is the music, because it’s apparent that John Johnson wrote a sequence of pavans and galliards which is significant and largely unexplored on record at least - like Bull’s pavans and galliards they’re a hidden gem of English music I think.

There’s an enormous contrast between Johnson and Holborne, by the way - and given that they were contemporaries from the same milieu that makes the recording even more valuable.  A glimpse into the variety of styles in English lute music from the mid 16th century.
« Last Edit: October 15, 2021, 12:10:15 AM by Mandryka »
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Offline aligreto

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Re: Recordings for lute and related instruments
« Reply #526 on: October 24, 2021, 03:05:46 AM »
Cross post from the Listening Thread:


Vallet: Le Secret Des Muses [O'Dette]






This is an exquisite performance of this wonderfully sounding music. The playing is of the highest order and the recorded sound is very sympathetic to the music in a good recording.
It is better to remain silent and be thought a fool than to speak and leave no doubt.