BAROQUE LUTE MUSIC FOR GUITAR, Walter Abt. CD TABLATURE
BAROQUE LUTE MUSIC FOR GUITAR:
Notes by Walter Abt:
The pieces published in this volume are some of the most beautiful masterpieces by four famous Baroque lute players who created their own composition style.
I have developed a particular guitar tuning for this type of music, which allows for playing pieces written for the lute imitating the lute fingering.
This type of fingering makes it easy to move the left hand on the handle and makes the most of the guitar's resonance.
The different resonance ratio of the instrument enables the music for Baroque lute to be easily played on the guitar with a natural and authentic sound.
This tuning recalls the real handle grip and the way of fretting strings of the compositions for lute, which reduces notably the difficulty level.
Notes on the development of the Suite composition:
The first polyphonic instrumental compositions for lute or vihuela date back to 1500 as Ricercare, Tentos o Fantasias. They are free form of music and are not linked to any specific types of musical movement.
It is only at the dawn of the 17th century that they start to flourish as court balls, when the lute becomes one of the most preferred instruments in the European courts. In the ensemble with other instruments such as the Theorbo, the Chitarrone, the Colachon and the Pandora, the low and continuous sound of the lute dominated these pizzicato instruments.
Due to the composition for lute, the instrumental structures and ornamentation influence the compositions for harpsichord and piano positively, specifically in the form of the fourmovement
sonatas of the 18th century.
The "broken style" with its brilliant ornamentation is considered the vocal guide that changes the contrapuntal sounds. The art of the lute complements the contrapuntal melisma.
In the 16th century in France, it delivers a way of playing diminished at best and within the lute school in Paris of the brothers Jacques and Denis Gaultier it developed a majestic structure and sensation that inspired cembalists such as Rameau, Froberger, Bach and Handel. The lute was worshiped at the court of Louis XIII, even Richelieu took some lessons from Emmenond Gaultier.
Extraordinary pupil of Ennemond Gaultier ("the older"), Francois Dufaut (also Du Faux or Dufault), born around 1600 in Bourges, is one the most outstanding French lutenist. His tablatures for lute were printed in 1638 in the musical publications by Pierre Ballard. In his G-minor Suite Reusner reduced the Gigue Nr. 72 by Dufaut and the thematic similarities confirm the thesis that Dufaut was the maestro of the German luthanist Esaias Reusner between 1651 and 1654.
Contents
Introduction
Silvius Leopold Weiss (1686 - 1750)
Sonata VI, Nr.25 G-minor
1. Prelude
2. Allemande andante
3. Passepied
4. Bourrée
5. Sarabande (6 str,D)
6. Menuet
7. Gigue
Francois Dufaut (1604? -1672)
La Superbe, courante
Sarabande 64
Double de la Sarabande 64
Gigue 72
Esaias Reusner (1636-1679)
Suite G-minor
1. Allemande
2. Courente
3. Sarabande
4. Ballett
5. Gigue
Johann Anton Losy (1637-1721)
1. Allemande
2. Ciaconna
3 Menuet I
Jan Adam von Questenberk (1678-1752)
4 Menuet II
Johann Anton Losy (1637-1721)
5 Sarabande
6 Double
7 Gavota
8 Gigue
Silvius Leopold Weiss (1686-1750)
Tombeau sur la mort de M. Comte de Logy
Appendix: Execution of the different types of decorations
Italiano
English
