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Recordings for lute and related instruments

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Mandryka:

--- Quote from: milk on August 11, 2021, 08:35:57 PM ---

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

--- End quote ---

Be sure to try Massimo Lonardi’s Dowland too! Just lovely stuff. Voluptuous, languid. Calm, luxe, volupté.

milk:

--- Quote from: Mandryka on August 12, 2021, 08:48:38 AM ---Be sure to try Massimo Lonardi’s Dowland too! Just lovely stuff. Voluptuous, languid. Calm, luxe, volupté.

--- End quote ---
Thanks. I will.

milk:

--- Quote from: Mandryka on August 07, 2021, 11:29:11 PM ---

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.

--- End quote ---
Yes. I gave this some time but I'm finding it to be deeply rewarding. It's a dreamier Dowland as you say.

Mandryka:
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



Mandryka:

--- Quote from: Mandryka on January 21, 2017, 11:02:18 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.

--- End quote ---

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.

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