The lute reigned supreme as the instrument of choice throughout the Renaissance, but waned in popularity in the seventeenth century as keyboard instruments became more refined and widespread. Yet, it held its own in the Baroque era in certain regions, particularly in France, where large quantities of dance suites were written. Toward the end of the century, the lute enjoyed something of a revival as it became extremely popular in German-speaking countries, and in regions of central Europe. Today, it has found a home as a continuo instrument, often preferred to the harpsichord for its rich and gentle tone, and its warmer sound. Artists such as Stephen Stubbs, Lucas Harris, Daniel Swenberg and Michael Fields have brought the Baroque Lute into a new daylight, championing, post-Renaissance compositions and making it the continuo instrument of choice in a large body of vocal and chamber music. This disc of works by Johann Kropfgans brings the lute into prominence as a chamber music partner, and although the pieces are simple and most likely intended originally for amateurs, this fine ensemble brings the music to life with all the care and dedication that one might expect to go into a disc of Bach or Handel.

This recording of lute music may be of most interest to fans of the lute and of the Renaissance-Baroque transition era, but it will be of considerable interest to them: it marks the first recording of the Libro d'intavolature di liuto, or Book of Lute Tablatures, of Vincenzo Galilei (1584). Galilei was the father of none other than astronomer Galileo. The work is given the title The Well-Tempered Lute here; that was not Galilei's title, but the music was apparently the first collection intended to demonstrate the possibilities of equal temperament that Bach would exploit so dramatically a century and a half later. Some scholars have opined that this was a primarily theoretical work; as music, it is both technically difficult and a little monotonous, consisting of groups of dances that may or may not have been danced to. Lutenist Žak Ozmo makes a good case for these little pieces as performer's music, differentiating learned counterpoint from works of a more expressive character.

The American lutenist, Hopkinson Smith, began as a teenager he began to study the classical guitar and in his early 20's, he became acquainted with the lute which he started to learn by himself. He majored in musicology at Harvard and graduated with honors in 1972. In 1973, Hopkinson Smith came to Europe to devote himself to the lute in earnest. He worked in Catalonia with Emilio Pujol, a profound pedagogue in the 19th century tradition who instilled in him a sense for higher artistic values, and in Switzerland with Eugen Dombois whose sense of happy organic unity between performer, instrument and historic period has had a lasting effect on him. From the mid 1970's, he was involved in various ensemble projects including the founding of the ensemble Hespèrion XX and a ten-year collaboration with Jordi Savall. This collaboration led to important experiences in chamber music which were a creative complement to his work as a soloist.

Nigel North is one of the finest lute players in our midst today, and his legendary four-CD set, ‘Bach on the Lute’ (Linn records 1994 to 1996) remains unsurpassed in its technical and musical brilliance. Now, he completes his journey with a double CD combining Bach's original 'lute works' (more likely written for Lautenwerck, or luteharpsichord), with North's own lute transcriptions of Bach's music for flute, organ, and more. This is an exquisite recording, full of space and intimacy, which makes you feel as though it is being played just for you. A must-have.

The issue of authenticity of Bach’s so-called lute music is one that continues to perplex artists today; most of the recordings of Bach’s lute music range from transcriptions of the cello and certain solo violin suites to other more capriciously chosen works that are made to “fit” the instrument. Indeed, one of the best (and most popular) of such collections, that by Nigel North (Linn Records, “Bach on the Lute”), consists entirely of these violin and cello works, albeit with the not-uncommon idea of such works finding their way into the repertoire of all sorts of related instruments.

Like Sebastian Bach and François Couperin, Sylvius Leopold Weiss came from and continued a musical tradition. His father was Johann Jakob Weiss, his brother was Johann Sigismund Weiss, and his son was Johann Adolph Faustinius Weiss. Also, like Bach and Couperin, Sylvius Leopold was the most famous member of his musical clan, and during his long and distinguished career he taught a number of students who would become exceptional lutenists, Adam Falckenhagen and Johann Kropfgans among them. Following demands created by his exceptional reputation, Weiss traveled extensively before he settled at the court of Augustus the Strong in 1728; he remained there for the rest of his life. Weiss and Bach certainly met on more than one occasion as the latter visited his son Wilhelm Friedemann and also had an interest in music-making at the Saxon court. As a performer, Weiss was considered the finest of his time and many believed that his ability as a lutenist rivaled that of Bach as an organist and Scarlatti as a harpsichordist. His Berlin colleague, Ernst Gottlieb Baron, mentioned to a “Weissian Method,” probably a reference to his astounding and masterful technique, not to mention his style. Hundreds of Weiss’s works survive, chief among them six-movement sonatas or partitas that follow the accepted blueprint for the genre, i.e., Allemande, Courante, Bouree, Sarabande, Minuet, and Gigue.

The playing of many professional classical guitarists leaves me cold. Where they flawlessly execute a score, Bream has spaciously conceived the music using something it seems is in short supply- a disciplined imagination. Each note, instead of sounding like part of an automatic process, sounds conceived and executed deliberately. Bream attended conservatory, where he was told not to bring his "gypsy instrument".

Naxos has collected its four volume traversal of the lute music into a handy slipcase. All the volumes are available singly, but you can also buy the four together as a quartet of excellence, presided over by Nigel North, the acknowledged hero of the hour. What follows is a reprise of two volumes already reviewed - volumes 1 and 3 - and a look at volumes 2 and 4.

One of those special discs where the combination of repertoire and performances is of such unerring quality that it can justly be called definitive, Paul O'Dette's 1991 recital of lute works by Johannes Hieronymus Kapsberger is as good as it gets. Born in Venice, Kapsberger was unsurpassed in his times as a lutenist. His published collections of works for his instrument were considered all but unplayable by anyone but himself at the time they were first published./quote]

The Siena Lute Book is the best manuscript source of fifteenth century Italian lute music in existence, and it is kept in the Gemeentemuseum in The Hague. Its creamy white and carefully copied pages yield more than seven score lute compositions, compiled in the last decade of the fifteenth century but belonging to a time about 40 years before. On this Avie album, lutenist Jacob Heringman puts together a winning selection of 26 of these pieces in an order that roughly corresponds to The Siena Lute Book set that he has been touring with for some time.

Jacob Heringman is one of the foremost lutenists of his generation, “a master of his instrument” according to Classical Guitar magazine. He is the lutenist of choice for leading international musicians, including Barbara Bonney, Michael Chance, and The King’singers. His reputation for seeking out rare and unjustly neglected repertoire is well earned: previous solo recordings include the only solo lute CD devoted to Josquin des Prez. A veteran of the recording studio, Jacob appears on over 50 CDs as soloist, collaborator and ensemble member.

The first notes of the descending chromatic theme break the silence and it seems as if time has stopped. The listener is drawn into the world of John Dowland, the greatest lutenist of all, in a journey through multiple shades of melancholy and lucent hope. Never before had the lute sounded as expressive and colourful as in these masterful Fancies, as dynamic as in these sparkling dances: Renaissance lute music here reached its summit. Bor Zuljan explores these qualities in his debut solo recording, breathing new life into Dowland's masterpieces.

This is a recording which truly challenges the accepted norms of musical recording and it does so triumphantly. The sound is full and rich, being recorded in a great church. Lislevand's control of sonority is at times stunning, his tone always sweet and strong. The pieces are tastefully arranged into suites, balanced and whole. And the disc even includes snippets of bird and animal sounds which invaded the recording sessions from the cool night air and nearby lake. Added to this, the liner notes are exemplary, full of insight into the composers' of the disc as well as the opinions and ideas on historical performance. Highlights of this recording are the Canaries by Gaultier and Tombeau du Mezangeau, by the same.

Pietari Brahe nuorempi (1602 – 1680), Suomen kenraalikuvernööri, on maamme historiankirjoituksen lempilapsi. Hänen hallintokautensa katsotaan olleen poikkeuksellisen edistyksellistä aikaa. Tuolloin perustettiin mm. maamme ensimmäinen yliopisto, Turun Akatemia, kymmenen uutta kaupunkia ja postilaitos sekä alueen hallintoa kehitettiin.
Vähemmän tunnettua on, että Brahe soitti luuttua, ja että hän kirjoitti luuttumusiikkia sisältävän kokoelman. Tätä Per Brahe lutbokia, säilytetään Skoklosterin kirjastossa Uppsalassa Ruotsissa, ja se sisältää viitisenkymmentä luuttusävellystä tabulatuureina kirjoitettuna.