Konrad Junghänel’s
recording of the Bach Lute Suites, while very precisely played, seemed
somewhat lacking in colour, especially compared to the stupefying virtuosity
of Jakob Lindberg whose recording has pretty much swept the field of
recordings of these works. Here, in this recording of Esias Reusner’s
lute suites, there is no lack of colour either in the music or in the
playing. Compared with others of his time, such as Lully and Froberger,
Reusner is surprisingly tuneful, his harmonic logic is engaging and
adventuresome.
Each suite consists
of about half a dozen dance movements, including a Praeludium, a Passacaglia,
two arie, and two Paduani in addition to the usual Courants, Sarabands,
Allemands, and Gigues.The movements of the suites are thematically related
to produce integrated works. This performance brings out these qualities
in the music with grace and particularly with skilled use of ornaments.
Clearly the artist loves this music and he communicates that to the
listener.
Esias Reusner was born in Löwenberg, Silesia in 1736 and was taught by his father (also Esias Reusner) who was
a virtuoso lutenist and who published compositions in the older German
Lute style, typified by chordal texture. At the age of 14, Reusner
the Younger entered the service of a Polish Princess in Breslau where
he had the opportunity of continuing his studies with a noted French
virtuoso; henceforth he adopted the newly popular French “style brisé,”
melding it well with the German style, and published many works apart
from this set of six suites. His health was never robust and, after
various court appointments, including Leipzig and Brandenburg, he died in Berlin
1679 at the age of 43 leaving his widow with three young sons.
At the risk of outraging
purists, I must say that every classical collection needs a few CD’s
of music to be played on repeat for social occasions, where those who
want to listen and sit near the speakers will be find the music worthy
of their interest and will look forward to hearing it several times,
and those who want to chat and sit (hopefully) further from the speakers
will be stimulated subliminally by the intriguing and agreeable sounds.
This recording fills that bill admirably. The performance is remarkably
free from distracting finger noises, and the resonating strings of the
lute provide a soft sound aura.
Paul Shoemaker
Baroque lute by Johann Christian
Hoffmann.