One of the most grown-up review sites around

2019
51,000 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider

TROUBADISC

colourful imaginative harmony
Renate Eggebrecht violin


Leticia Gómez-Tagle
Chopin, Liszt, Scarlatti


Guillaume LEKEU


Book 1 Book 2 Book3
Mota The Triptych: -Website



Acte Prealable returns
with New Releases


Superior performance


Shostakovich 6&7 Nelsons
Notable


Verdi Requiem Thielemann


Marianna Henriksson
An outstanding recital


Arnold Bax
Be converted


this terrific disc


John Buckley
one of my major discoveries


François-Xavier Roth
A game-changing Mahler 3

........................................

Bryden Thomson


Symphonies


Vaughan Williams Concertos


RVW Orchestral

 

REVIEW Plain text for smartphones & printers

We are currently offering in excess of 51,000 reviews


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount



Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

Support us financially by purchasing this disc from
Friends of the Lute
Silvius Leopold WEISS (1687-1750)
Fantasia in B-flat for solo lute [2:26]
Concerto for lute and mandolin [14:17]
Prelude in D minor for solo lute [1:47]
Fantasia in C for solo lute [4:30]
Sonata in A for lute and harpsichord, later J.S. Bach’s BWV 1025 [29:42]
Ciaconna in A for solo lute [4:38]
Ernst Gottlieb BARON (1696-1760)
Concerto for flute and lute [8:12]
Axel Wolf (lute); Dorothee Oberlinger (flute); Anna Torge (mandolin); Christoph Anselm Noll (harpsichord)
rec. 30 May-2 June 2012, Reitstadel, Neumarkt, Germany
OEHMS CLASSICS OC 876 [65:32]

The cover of this delightful album is a little confusing. “Friends of the Lute,” with no subtitle, just two lists of names and one man with a lute in a case. “Friends of the Lute” is in fact a showcase for three great lute duets, accompanied by the flute, mandolin and harpsichord. All these pieces are excellent, and so is the playing. I hope you won’t put off exploring this enjoyable, little-known repertoire.
 
We have here the original version of J.S. Bach’s suite for violin and harpsichord, BWV 1025. Most scholars believe that the suite is an arrangement of a Silvius Leopold Weiss suite for lute and harpsichord, although the CD’s booklet advances the romantic theory that Weiss and Bach improvised the piece in performance together. Anyway, the lute and harpsichord are similar enough that they sound a little odd together, and balance is an issue, so you can see why Bach would make the arrangement. I still found the work enjoyable, but not as much as the rest of the disc.
 
The duets with flute and mandolin, by contrast, are total successes. It’s Weiss again in the lute-mandolin duo, a total joy which makes me wonder why the mandolin does not have more sonatas and solo works from across music history. Anna Torge’s playing is a welcome complement to Wolf’s. Neither gets to really let loose in this piece, which is half slow movements, but they definitely convey its charm and grace.
 
Ernst Gottlieb Baron steps in provide a duet for lute and flute, with Dorothee Oberlinger stopping by to play the flute part on a replica baroque instrument. A minor-key opening adagio lasts less than two minutes, making me wish - as the whole work does - for more.
 
Between the three big events on the programme, Wolf adds solo pieces for lute alone, up to Weiss’s usual high levels of compositional mastery. The booklet notes, a fictitious letter “from” the time period, are baffling, especially with no other essay provided. The sound is certainly fine, and the music meritorious, but given the odd presentation you wouldn’t lose anything downloading this one.
 
Brian Reinhart