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> Matthew Wadsworth "The Knight of the Lute", SACD

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post 14/07/2009, 13:53
Сообщение #1


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MATTHEW WADSWORTH "The Knight of the Lute" SACD

Matthew Wadsworth "The Knight of the Lute" , SACD

Genre: Classical – Instrumental

Гибридный SACD 5.0

total time: 62.00

Matthew Wadsworth - 10 course lute
  1. Sir John Smith, his Almaine
  2. Fantasie composed by the most famous
    GREGORIO HUWET of Antwerp 4.42
  3. Pavin composed by the most famous & perfect Artist
  4. The most sacred Queene Elizabeth, her Galliard
  5. Volt I
    ANONYMOUS 2.49
  6. Fantasie composed by the most famous
  7. Pavin composed by the right perfect Musition
    Coranto 1 : Mounsier Ballard his Coranto
  8. Fantasie composed by the most artificial & famous
    ALFONSO FERRABOSCO of Bologna 3.25
  9. Pavin
    ALFONSO FERRABOSCO of Bologna 3.52
  10. Coranto 6
    ANONYMOUS 0.54
  11. Coranto 2 : John Perrichon his Coranto
  12. Fantasie composed by the most famous & divine
  13. Pavin made by the most magnificent and famous
    "fecit in honorem Ioauni Doulandi Anglorum Orphei"
  14. The most high & mightie Christianus the 4th King of Denmarke, his Galliard
  15. Coranto 4 : Mounsier Saman his Coranto
  16. The Right Honourable the Lady Clifton's Spirit
  17. Pavin composed by the excellent Musition
  18. The Right Honourable Ferdinando Earle of Darby, his Galliard
    total time: 62.00

Recording location: The National Center For Early Music, York, England
Recording dates: December 2006/May 2007
Producer: Jonathan Freeman-Attwood
Recording engineer, editing: C. Jared Sacks

Channel Classics Records (CCS SA 25408, 7 23385 25408 9), 2008
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post 14/07/2009, 13:57
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Цитата( буклет )

The seeds of this recording were planted many years ago. As a teenage classical guitarist, I used to spend a lot of time playing other peoples' transcriptions of renaissance and baroque music. Little did I know, that many of the pieces I played were actually taken from the 'Varietie of Lute Lessons'.

When I discovered the lute (accidentally) in my first year as an undergraduate at the Royal Academy of Music, I found myself returning to some of the same pieces, except this time, in their proper context. Not only did I have to develop a Braille system for notating lute tablature (with the help of Tim Crawford), but I then had to spend hours manually writing the pieces out on a clunky old braille typewriter. I taught a number of my student friends to read tablature, and we would spend valuable and precious time each week writing out one or two new pieces.

I used to spend hours in the basement of the library, listening to recordings of one of my great idols, Julian Bream - deciding which piece to write out and learn next. Since then, it has always been a burning ambition of mine to one day record the Varietie of Lute Lessons, and some 15 years after my initial forays into this stunning repertoire, it felt right to finally commit the pieces to disc.

Although my understanding of the music has matured over the years, I must confess to finding some of these pieces no less demanding to play. Ironically, the very first note in the book is actually printed on the wrong string, and there are a great many mistakes throughout the pages, which I have taken the liberty to correct. It is quite surprising that Robert Dowland was not able to publish accurate versions of his father's own work, and he even forgets to credit his dad's authorship of two Almaines, one of them being Sir John Smith's Almaine, which opens this recording.

In 1610, Robert Dowland (son of the great lutenitst John Dowland) published two important collections of music in London: 'A Musical Banquet' (songs to the lute) and 'A Varietie of Lute Lessons' (a collection of lute solos). The full title of Varietie reads:

Fantasies, Pavins, Galliards, Almaines, Corantoes, and Volts:
Selected out of the best approved AUTHOURS, as well beyond
the Seas as of our owne country.
By Robert Douland.

There is no doubt in my mind that 'Varietie' is mainly the work of John Dowland, but was published under Robert's name as a helping hand up the ladder from Father to son.

John Dowland was still somewhat out of favour at the English court, and possibly felt that the work of a younger hand might be received with greater ease.

In his introduction "To The Reader", Robert Dowland writes:

" I am bold to present you with the first fruits of my skill, which albeit it may seems herediatarie unto mee, my Father being a Lutenist, and well known amongst you here in England... perfection in any Skill cannot be attained unto without the waste of many years... but being young in years, I have adventured like a desperate souldier to thrust my selfe into the Vant-gard, and to passe the Pikes of the sharpest Censures, but I trust without danger, because we find it true in Nature that those who have loved the Father, will seldome hate the Sonne."
Robert unfortunately had to wait until two years after his Father's death before finally being given a court appointment in 1628.

John Dowland (1563-1626) was the most brilliant lutenist of his day. Upon the death in 1594 of John Johnson, court lutenist, Dowland - seemingly an obvious successor - was overlooked doubtless due to the Catholicism he had new acquired in France, not to mention his somewhat difficult personality. Frustrated by this lack of recognition of his growing reputation, he headed for Europe in search of court employment elsewhere.

Dowland's years in exile must have caused him great pain and frustration, but they were also to prove incredibly productive, with the publication of the 1st Book of Ayres in 1597, the 2nd Book in 1600, the 3rd Book in 1603, and Lachrimae in 1604. It was during this time that Dowland would have surely collected many of the pieces from emmenent foreign lutenists, the best of whom are represented in this book notably, Laurencini "il Divino", Prince Moritz of Hessen, The Knight of the Lute and Gregorio Huwet of Antwerp.

The Varietie of Lute-Lessons contains some forty two pieces, in six musical forms which were in vogue around the time of publication: Fantasies, Pavans, Galliards, Almains, Corantos and Voltas (seven of each). Lutenist-composers represented came from England, France, Germany, Belgium and Italy. We are provided with a rich tapestry of musical personalities which embrace the older style of lute writing, Italian virtuosity, and the more modern French style. The forms were aptly described by Thomas Morley in his book, A Plaine and Easie Introduction to Practicall Musicke, printed in London in 1597, the same year as Dowland's 1st Book of Ayres.

Of the Fantasie, Morley says:

"The most principal and chiefest kind of music which is made without a ditty is the Fantasy, that is when a musician taketh a point at his pleasure and wresteth and turneth it as he list, making either much or little of it according as shall seem best in his own conceit. In this may more art be shown than in any other music because the composer is tied to nothing, but that he may add, diminish and alter at his pleasure. Morley then goes on to describe the dances which follow, Pavans, Galliards, Almains and Volts."

Of all the composers in Varietie, John Dowland is the best represented, composing six of the seven Galliards. A particular favourite of mine is the King of Denmark's Galliard, which was always known as the Battle galliard in earlier versions. One can't help thinking that Dowland was perhaps poking fun at his x-employer, who was famous for his excess drinking and lack of skill in battle and war.
The great Laurencini of Rome (il Divino) provides us with two wonderful fantasies, modelled on a contrapuntal older style, but with toccata-like sequences, which were to become so idiomatic in later lute writing. Laurencini was granted the "Order of the Golden Spur" by the Pope, and he may also have been known as "Equis Romanus" and the "Knight of the Lute".

The Italian Alfonso Ferrabosco of Bologna, spent some years at the Elizabethean court, between 1562 and 1578. in 1622 Henry Peacham wrote of him: "For judgement and depth of skill he was inferior unto none: what he did was most elaborate and profound."

Indeed, his Fantasia and Pavan remind us of an earlier English style, filled with nobility and poise. The Fantasia is written in the key of B flat minor, which is most unusual, and provides a sombere and intense sonority. One of my personal favourites from the fantasies is that of the Flemish lutenist Gregorio Hewit, with its wonderful chromaticism and expansive use of the instrument.

John Dowland travelled with Hewit to the German court of Prince Moritz, Landgrave of Hessen. The Prince himself was a fine lutenist and his Pavan, the first in the collection, is dedicated to Dowland.

The Pavans by Thomas Morley (the only non-lutenist composer in the book) and Anthonie Holborne are the only Pavans written without divisions. Given the generous sophistication of many of the other pieces, I came to the conclusion that a greater impact would be achieved through subtle embellishment of the repeats, rather than florid divisions.

My choice of pieces for this recording was largely instinctive. It wasn't possible to record all 42 pieces, so I chose the ones which spoke to me the most at the time, with a view to representing all styles and genres of the book.

© Matthew Wadsworth,
London November 2008

Это уже второй альбом Мэтью Уодсворта на Кэнел Классикс. Так случилось, что с ним познакомился сначала и, заинтересовавшись, взял предыдущий Masters of the Lute. Ранее Мэтью записывался на других лейблах (Linn, EMI и пр.). Если первый альбом была ретроспектива, то настоящий – запавшие моменты из Школы игры на лютни, изданной сыном Джона Дауленда - Робертом. Работы отца и других авторов, одним словом – избранное. Записано уже не в церкви, а в Национальном центре старинной музыки в Йорке, в помещении с достаточно звонкой акустикой, добавляющей светлое настроение музыке. А приближенной к слушателю инструмент, воспринимающийся почти сверху, создает впечатление отрешенности исполнения от исполнителя. Музыка как бы сама по себе. Такое представление хорошо ассоциируется с художественной выставкой со светлыми залами (не Рембрант и тем более не Ночь над Днепром Куинджи). Хотя сдержанность первого альбома мне больше по душе, в ней больше доверительности или интимности. Но это уже дело вкуса. По содержанию этот альбом схож с первой «возрожденческой» половиной первого альбома.

Музыка – 10
Запись – 10
Многоканальность - 9
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