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DTSTART;TZID=America/Los_Angeles:20220728T133000
DTEND;TZID=America/Los_Angeles:20220728T143000
DTSTAMP:20220405T123314Z
CREATED:20220405
LAST-MODIFIED:20220722
PRIORITY:5
SEQUENCE:7
TRANSP:OPAQUE
SUMMARY:Solo Lute
DESCRIPTION:Thursdays, July 21 & 28, 1:30 PM\nDaniel Swenberg, lute\nExtraordinary Tunings- Les Accords Nouveaux:\nTransitional French Lute Music from 1631-1638\n\n\n\nTransitional Tuning\n\n\n\n\nFrère Frappart\nNICOLAS BOUVIER (fl.1631–1638)\n\n\nBranles\nPIERRE GAULTIER (1599–after 1638)\n\n\n\n\n\n\n\nFrench Flatt Tuning or Ton Ravissant\n\n\n\n\nSuite of Allemande & Airs in Ton Ravissant\n\n\n\n\n\nFRANÇOIS DUFAULT (c.1604–c.1672)\n\n\n\n\nAllemande, Frère Frappart, Point d’Orgue, c’est ou je vous attends, Tu es\nenrûmé compere\n\n\n\nR. MESANGEAU\n\n\n\n\nBranle de Mets\n\n\n\n\n\n\n\nSuite in G Minor\nPIERRE GAULTIER\n\n\n\n\nAllemande, Courantes, Sarabande\n\n\n\n\n\n\n\nNouveau Accord Ordinaire or D Minor Baroque Lute Tuning \n\n\nSuite in D Minor\nNICOLAS BOUVIER\n\n\n\n\nAllemande, Courante, Canaries\n\n\n\n\n\n\n\nTombeau de Mezangeau\n\nENNEMOND “VIEUX” GAULTIER (1575–1651)\n\n\n\n\n\n\n \nProgram Notes \n\n\n\nEarly in the 17th century, lutenists began experimenting with tuning. It was an exploration of sonority and what would become the revolutionary transition from Renaissance to Baroque. Les Accords Nouveaux — new and extraordinary tunings — is how we know the period of 1620-1650. The old renaissance tuning is left behind. By 1650, the many transitional tunings would settle into a new standard Baroque lute tuning — Nouveau Accord Ordinaire: the so-called d minor tuning. Both music history and today’s performances gloss over this period. It certainly was a historical dead-end. Too impractical, changing 19 strings…Better to begin with the d minor tuning. Two distinct worlds and lutes: Renaissance and Baroque.\nWithout the Covid lockdown I may have never discovered this repertoire. I learned how wrong I was. I had time on my hands. I changed 19 strings, and then more. I tried to wrap my head around how these tunings worked. Here are some of the fruits of some well-spent hours in pandemic solitude.\nMarin Mersenne stated in 1636 that the new tunings used the Renaissance tunings as their foundation. There were something like 22 of these tunings. In truth, they can be classified into a few: the sharp (Gaultier’s tuning) and flat tunings (Ton Ravissant), and some hybrids:\nWhile there are hundreds of collections of Accords Nouveaux in manuscripts, the most important surviving of this repertoire come from 3 publications: Pierre Ballard’s offerings of 1631 and 1638 and Pierre Gaultier’s 1638 book, printed in Rome. The Ballard collections feature a variety of composers. Nearly half of the works are by two of the outstanding composers of this period: René Mesangeau and François Dufault. Mesangeau achieved a celebrated position as the first of this new generation of lutenists. His music is experimental, sonorous. It takes great advantage of the new tunings. He exploits the full range of the instrument. Mesangeau’s death was commemorated in several tributes by later composers. Dufault would go on to be one of the most influential composers of the Baroque lute, with its standard d minor tuning.\n\n\n\n\n\n\nPierre Gaultier’s 1638 publication features his music alone. His writing features a number of techniques that are not typical of any other French lutenist — techniques common to the Italian theorbo and guitar players: Campanella (playing scales over many strings, open and fingered high on the fingerboard, creating a bell-like tone), extended slurred passages, and acciaccature (dissonant chord clusters).\nAll of these collections feature the new dances that would form the basis of the Baroque dance suite. However, the suites would be assembled/ selected by the player: many Allemandes were followed by a variety of Courantes, and Sarabandes. Gigues were not added to the suite until c. 1650. Thus a suite would progress from slow to fast — the sarabande of this time was a fast dance resembling the Canary more than the dirges of the later Baroque.\nI hope you enjoy this glimpse into a largely unknown repertoire. It is intimate, sensual, sometimes grave, sometimes frivolous and fun. The lute was the noblest of instruments. The French were its most famous cultivators. It is a connoisseur’s music, but it remains fresh — somehow “new” and “extraordinary”\n— Daniel Swenberg\n\n\n\n (function () { \nvar tagjs = document.createElement("script");\nvar s = document.getElementsByTagName("script")[0]; tagjs.async = true;\ntagjs.src = "//s.btstatic.com/tag.js#site=t4tmU86&referrer=" + \nencodeURIComponent(document.location.href) + ""; s.parentNode.insertBefore(tagjs, s); \n}()); \n \n
URL:https://bachfestival.org/events/solo-lute-foyer/
ORGANIZER;CN=Daniel Swenberg:MAILTO:
CATEGORIES:Foyer Concerts
LOCATION:San Carlos St between 8th and 10th Ave, Carmel-By-The-Sea, CA 93923
ATTACH;FMTTYPE=image/jpeg:https://bachfestival.org/wp-content/uploads/2022/04/Bach-and-the-Lute-e1649199181269.jpg
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