In my opinion, the quality of a performance (and of the music played) should be measured by its ability to change the listener's perspective. Occasionally I hear a performance, perhaps very simple, but composed and/or delivered in a way that I feel like a new person when I leave. I think Mr. Pernot has that capacity in his playing--the capacity to refresh his audience--and that is the soul of music.
Writing is writing; music is music. The idea that musicians are machines who are supposed to convey the composers 'intentions' without personal expression, is not an idea from Bach's era. Modern players of early music vary a great deal in how personal they are willing to make an interpretation. Anyone interested in learning about this should read Haynes' book 'The End of Early Music'. For me, this video could use more expression and clarity.
The main solution to this argument is, I think, this: just as today we all differ in our opinions as to how it should sound, so they all did back in Bach's day. Some may have read it straight off Bach's page, others may have done as Louis did. There is no right or wrong, and even if it were wrong, it sounds good, and not a single Baroque music master ever criticised something that sounded good. (So its right.)
It doesn't sound good because it doesn't sound like it's supposed to at the fundamentals on which music is played and read.
It is not an improv, but a medicore performance of a misread piece. No disrespect to the performer of course, I am just being my realist self. Enough said.
Strong and passionate convictions; Your ideas sum up eloquantly the way I feel about french lute music like Gaultier and Mouton. I don't know that I totally agree with all you say, but I'd love to hear your playing.
I'm recording 2 albums of the music of Mauro Giuliani(1781-1829)on my 10 string meantone temperment French Theorbo guitar in the 1st week of May.I'll post some of the proceedings at alra1975 at Youtube
Listening to this again I do feel it could take more freeing up; But I stand by my earlier convictions. The quote comes to mind: "I disagree with what you (he) say (says), but will defend to the death your (his) right to say it". Maybe not to the death, I haven't touched a sword in ages.
Trivialty and mechanicality are not mutually inclusive. I think one gets the most out of music when they can enjoy Glenn Gould one month and Jordi Savall the next.
The ungestural,metronomic ideas with which you imbue this hurts the music and the expression gravely.Why do you treat Gaultier so kindly and Bach as if he were tripe?
ungestural metronomic ideas?! He's just using a bit of inegales. Its a french baroque thing and it works fine. You're just not used to it. Maybe its not your cup of tea, but that doesn't make it 'tripe'!
Not every single movement requires gesture, surprise, etc. This is just a little gavotte, Bach could have written it in a few minutes, with his eyes closed. In a sense, to Bach it WOULD have been tripe; its just a quick little rustic dance, not a tombeau for a loved one.
Nobody would argue that Bach's dance movements should be danceable or rhythmic enough to be danced. But they were not gavottes, meneuts, bourees for nothing. There is plenty of evidence from Bach's day, from his son's great Versuch in fact, that a steady pulse should be present, albeit a moveable, alterable pulse. What evidence to you sight that a gavotte by Bach is an abstract form, removed from its dance-origins in all but name?
Your supposition from the very 1st phrase is wrong.The rhythmic tradition of Solo instrument playing has nothing to do that of dancing...in any form...at any time.
'Nothing to do with'? I'm not saying a solo Bach Gavotte should be metronomic. This would be aweful. I'm saying the backbone of the pulse comes from dance. Try to understand: this does not mean I think it should be strictly rhytmically stiff.
Summing up everything CPE and others have to say, I believe that this music should be played freely, with feeling and immediacy, surprise, elegance, and so on - but with a general pulse or beat. Perhaps Mr Pernot here is not playing as freely as you would? in the main we agree that the baroque should be played freely and with feeling, but we seem to disagree in the semantics.
Talk about edyfing the soul all you like; this is 18th century German music, not 17th century french music. CPE Bach didn't write about a solid rhythmic reference point or beat just to trick us. he wrote it because its how he played. (ps he learned from his father, not the devil.)
Yes, Bach does say that, and CPE wrote 'play from the soul, not like a trainned bird'. I agree with you - music is not a dead, lifeless, metronomic thing. But music can be rhytmically driving without being metronomical. In the smae chapter from which you take your quote about the soul, CPE makes negative remarks about those who start and finish a piece in different tempos.
Calling all composers!! DING DING! the time is now 1750!!!! The Baroque shift is ending; will all Baroque composers file out in an orderly fashion so that the Classical shift can begin! Any Baroque Composers staying on for the Classical Shift may take a 10 minute break while the Classical composers get set up! From this moment on We will no longer be serving Fugues- Minuets will be served instead.
Even if CPE were not quoting his father on that one, how can his words NOT be relavant to JS's music??? The father taught the son; the sons compositional style differed and tastes changed, but do you really think that in 1750 they liked strict and straight playing, then in 1760 they suddenly turned around and played with feeling? Just because today we say one is 'baroque' the other 'classical', doesn't mean they existed in isolation.
You don't understand me if you use absolutes like this. I'm not saying solo music should be a synthesis of dance music. I'm saying the heartbeat of dance movements in solo music, the 'feel' the beat in the loosest sense, comes from dance.
You haven't given any evidence to support your possition that a dance movement has NOTHING to do with dance rhythms. Should I assume you simply 'feel' this way, and are uninformed? Or do you know of a source from Bach's day that supports your view?
The melody sounds off, tempo-wise. Where is the original music for lute? Has it changed for the guitar? Because I hear a lot of pauses and 'galloping' in this rendition that shouldn't be taking place.
It is much harder to play up-tempo on a lute. The strings (courses) are double, either in unison (stopped strings), or octaves (lower bass strings). Both strings must be plucked simultaneously, and this takes time.
As to pauses and 'galloping', Louis plays this piece in a way that could well have been the way they played it back then. This is a field subject to huge speculation and knowledge, and hearing a piece played differently rythmically just adds to the experience, IMO.
They had a much looser rythmic practice back then. Short notes were played shorter far away from the beats, and far away from the first beat in each bar... They used "even 8ths" or even even triplets very rarely, supposedly. A piece should "swing", and if it doesn, you have to come up with some ideas on how to do it. ;-)
I completely disagree with this. The interpretation is fundamentally different from the way the piece is WRITTEN, in the language of the piece that has been more or less precisely preserved from the way it was written.
If Bach wanted it played that way, he could have easily WRITTEN it that way.
I'm not saying his playing is not excellent, but I dislike the 'interpretation' or whatever.
If you play as written, *any* music will be terribly boring, without swing, life and energy. If baroque music was an excact science, we would have stopped listening to it centuries ago.
I guess we'd all be shocked if we heard this music played by musicians of that day, on instruments of that day.
I fail to see how dynamics or lack thereof affect how a piece was written. Playing the proper tempo, time signature and notes is how written music is usually played lol. I highly doubt Louis is improvising here, as I can see the score in front of him.
With that said, he is an excellent player but I still don't like the interpretation as it deviates too much from the actual piece.
I don't wanna hammer at a rusty nail anymore though, I digress.
I don't see how he could've written it THIS way, even if I can get this "way", it even sounds "familiar", something is right about it (maybe it's some "Gavotte feel" I recognize from elsewhere).
This situation is exactly the same as in Jazz music, for example, where when properly played it isn't at all as linear as it's written, so if one isn't more aware to the background and more into the stuff - rather than just familiar with the notes - than they most probably won't arrive to a swing or a groove that's appropriate for a lively rhythmical rendition (this is a 'Gavotte' - a dance, so it most likely has it's particular rhythmic feel with which a specialist may be familiar with...
At J.S.Bach's time a composer's written music was actually more like written Jazz or other forms of popular music rather than what it came to be at modern times).
Note that I'm not saying that this is the ONLY right way to play this piece, but that there's something very right about it - that it's more than legitimate.
I agree with you in the main, but Bach was somewhat more fastidious and meticulous than most composers of his time, writting out ornaments, dotted rhythms where normally they would be done anyway, and so on. However, noone should criticise Louis this much for putting a bit of inegales into this piece. Everyone else plays it straight, whats wrong with one person swinging it? Perhaps Louis shows us how a frenchman would play this piece in Bachs day, while Nigel North shows us how a German would.
Come to think of it this whole 5th suite is perhaps more "French" then the others, isn't it? (with the Overture opening, the rich, heavy polyphony and ongoing prolonging of tension (like in some of the French baroque lute music I heard), those sophisticated rhythms and an atmosphere of "noble" seriousness and sophistication as a whole. What do you think?
I think this is a very french suite by Bach, yes you're right. And back in Bach's day all the best musicians and critics wrote of a sense of feel or 'air' that was that indefinable taste or treatment separating bland from living performance. The baroque musical tradition was a living one, not so strict and stately as too many people think today.
Do you think Gaultier gave a damn about the way a piece was 'written'? To quote Castaldi "whoever can play what's written can guess what is not". Why do you all critisice his notes inegales when the main problem is the over-heavy accent on every beat.
Well you can play Corelli, Quantz Gaultier exactly as they are "WRITTEN" and see where that gets you. Musicians from the baroque did not respect the score as the ultimate indication of the composers intentions, the way we do today. This is a 19th century concept.
I've painfully learned, finally after much fuss, that arrangements for classical guitar give a pale indication, at best, of what the lute pieces sound like when played on the original instrument. The same holds true for suites done on the lute that were written for cello or violin versus their guitar-arranged counterparts. I'm a classical guitarist myself and I love, for instance, the bouree from bwv996 on the guitar whereas the tempo on the lute sounds slow to my ears. Different kind of beauty.
It was interesting to hear your lute; it has a beautiful tone. The one I have is the exact same model done by Van de Gheest but in '79. Much the same but not quite as bright which may be due to recording or strings. I play on Boston Catlines for the trebles and Copper wrapped nylon in the bass; if you don't mind me asking, what do you use?
Of course, the recording for "you tube" is not very sophisticated and doesn't give a real idea of the true sound. I hope it is better than what we can hear there!
For the strings, they are, all of them, gut strings. For the basses they are made by a researcher C. Besnainou who found a way to make exceptionally good catlines, but they cannot be bought today. The problem with copper wrapped nylon strings is that they last too long and make impossible to play this kind or piece at that tempo...
I would think that dynamics play a role in the selection of bass string materials as well. The copper-wound strings have a huge sustain, but also plays very loudly, so that the sound would become a bit misbalanced with too powerful basses.
This lute is the usual german baroque lute with 13 courses. Each course is formed by a pair of strings, except the first two. And so, there shoud be 24 strings...
The lute has been made by Jacob van de Geest from Switzerland in 1985. All the strings are in Gut. It is a 13 courses lute, but the sound is rather in the esthetic of the XVIIe century french music...
...bellissimo.........
CabecitaPazza 2 years ago
Nice love that instrument.
Scarlatti2007 2 years ago
Centrale forever !
pipotherium 2 years ago
Beatifull!!! The sound and the interpretation is Fantastic. Muchas gracias
AGLMIL 3 years ago
i love this piece, it very much takes you to a completely different mindset
Santalady101 3 years ago
beautiful music. thanks a lot.
M2MTWO 3 years ago
Très, très bien, monsieur! Vous êtes un maitre de l'instrument. Vraiment bien jouée, la pieèce.
philomelodia 3 years ago
This is quite an easy piece. Louis is playing it like he's only just learned it, & hasn't yet worked out how to phrase it expressively.
But apart from that, the playing is quite precise.
BubCar2 3 years ago
On lute this is not an easy piece at all.
LutenistDeMari 3 years ago
c'est un air magnifique et magnifiquement interprété, qui nous transporte et nous fais réver...
merci M. Pernot de ce moment de bonheur, j'admire votre travail.
cordialement
panoptikon58 3 years ago
In my opinion, the quality of a performance (and of the music played) should be measured by its ability to change the listener's perspective. Occasionally I hear a performance, perhaps very simple, but composed and/or delivered in a way that I feel like a new person when I leave. I think Mr. Pernot has that capacity in his playing--the capacity to refresh his audience--and that is the soul of music.
liamstoaster 4 years ago
excellente interprétation , c'est original et beau , merci ;)
SFDPSFDP 4 years ago
Writing is writing; music is music. The idea that musicians are machines who are supposed to convey the composers 'intentions' without personal expression, is not an idea from Bach's era. Modern players of early music vary a great deal in how personal they are willing to make an interpretation. Anyone interested in learning about this should read Haynes' book 'The End of Early Music'. For me, this video could use more expression and clarity.
Quietguy69 4 years ago
Music you can dance to.... Beautiful expressive interpretation - Bach is still breathing!
RonnyOud 4 years ago
The main solution to this argument is, I think, this: just as today we all differ in our opinions as to how it should sound, so they all did back in Bach's day. Some may have read it straight off Bach's page, others may have done as Louis did. There is no right or wrong, and even if it were wrong, it sounds good, and not a single Baroque music master ever criticised something that sounded good. (So its right.)
ThisDream 4 years ago
It doesn't sound good because it doesn't sound like it's supposed to at the fundamentals on which music is played and read.
It is not an improv, but a medicore performance of a misread piece. No disrespect to the performer of course, I am just being my realist self. Enough said.
JohnnieNaked 4 years ago
Its not enough said.
ThisDream 3 years ago
Moral relativism doesn't change it.If you want to communicate this repertoire beyond a boring triviality...it must not be mechanical.
These are little prayers...not dirty ditties from the delta...although I love those too.
smithsherman 3 years ago
Strong and passionate convictions; Your ideas sum up eloquantly the way I feel about french lute music like Gaultier and Mouton. I don't know that I totally agree with all you say, but I'd love to hear your playing.
LutenistDeMari 3 years ago
I'm recording 2 albums of the music of Mauro Giuliani(1781-1829)on my 10 string meantone temperment French Theorbo guitar in the 1st week of May.I'll post some of the proceedings at alra1975 at Youtube
smithsherman 3 years ago
Keep us informed. I will show your Giuliani to my classical guitarist friends; some of them could do with some more freedom in their Giuliani.
LutenistDeMari 3 years ago
Thank you for your kindness...I give you my assurance that you have never this Giuliani.
It took me untold 10s of thousands of hours over more than 2 decades to discover why
this man was Maria Theresa's guitarist.
Soon the world will know...
smithsherman 3 years ago
Listening to this again I do feel it could take more freeing up; But I stand by my earlier convictions. The quote comes to mind: "I disagree with what you (he) say (says), but will defend to the death your (his) right to say it". Maybe not to the death, I haven't touched a sword in ages.
LutenistDeMari 3 years ago
Trivialty and mechanicality are not mutually inclusive. I think one gets the most out of music when they can enjoy Glenn Gould one month and Jordi Savall the next.
LutenistDeMari 3 years ago
The ungestural,metronomic ideas with which you imbue this hurts the music and the expression gravely.Why do you treat Gaultier so kindly and Bach as if he were tripe?
smithsherman 4 years ago
ungestural metronomic ideas?! He's just using a bit of inegales. Its a french baroque thing and it works fine. You're just not used to it. Maybe its not your cup of tea, but that doesn't make it 'tripe'!
ThisDream 4 years ago
You're right...he's using..."just a bit"
smithsherman 3 years ago
Not every single movement requires gesture, surprise, etc. This is just a little gavotte, Bach could have written it in a few minutes, with his eyes closed. In a sense, to Bach it WOULD have been tripe; its just a quick little rustic dance, not a tombeau for a loved one.
ThisDream 3 years ago
Your notion of affect in music is so 20th century conservatory...that it would take years of analysis to realize it.
smithsherman 3 years ago
No it is not a 20th notion of affekt. I'm talking about dance.
ThisDream 3 years ago
Your notion that this music bears any relationship to dance in actual time has nothing to do with this repertoire or this period in history.
smithsherman 3 years ago
Sighting what evidence?
LutenistDeMari 3 years ago
Nobody would argue that Bach's dance movements should be danceable or rhythmic enough to be danced. But they were not gavottes, meneuts, bourees for nothing. There is plenty of evidence from Bach's day, from his son's great Versuch in fact, that a steady pulse should be present, albeit a moveable, alterable pulse. What evidence to you sight that a gavotte by Bach is an abstract form, removed from its dance-origins in all but name?
LutenistDeMari 3 years ago
Your supposition from the very 1st phrase is wrong.The rhythmic tradition of Solo instrument playing has nothing to do that of dancing...in any form...at any time.
smithsherman 3 years ago
'Nothing to do with'? I'm not saying a solo Bach Gavotte should be metronomic. This would be aweful. I'm saying the backbone of the pulse comes from dance. Try to understand: this does not mean I think it should be strictly rhytmically stiff.
LutenistDeMari 3 years ago
No quasi-mechanical aspect at all.Time perception is filtered by the soul,which
knows no time in the mechanical sense
smithsherman 3 years ago
Summing up everything CPE and others have to say, I believe that this music should be played freely, with feeling and immediacy, surprise, elegance, and so on - but with a general pulse or beat. Perhaps Mr Pernot here is not playing as freely as you would? in the main we agree that the baroque should be played freely and with feeling, but we seem to disagree in the semantics.
LutenistDeMari 3 years ago
Talk about dance all you want...he isn't dancing...he's playing the lute...not to synthesize dance..but to edify the soul.
smithsherman 3 years ago
Talk about edyfing the soul all you like; this is 18th century German music, not 17th century french music. CPE Bach didn't write about a solid rhythmic reference point or beat just to trick us. he wrote it because its how he played. (ps he learned from his father, not the devil.)
LutenistDeMari 3 years ago
"Never play mechanically or slavishly",
J.S.Bach quoted By C.P.E.
smithsherman 3 years ago
Yes, Bach does say that, and CPE wrote 'play from the soul, not like a trainned bird'. I agree with you - music is not a dead, lifeless, metronomic thing. But music can be rhytmically driving without being metronomical. In the smae chapter from which you take your quote about the soul, CPE makes negative remarks about those who start and finish a piece in different tempos.
LutenistDeMari 3 years ago
Why are C. P. E.'s quotations at all relevant in the context of his father's music when his style was so different? I've always wondered that.
philomelodia 3 years ago
Pls disregard my prior comment. I just read the bit aobut C. P. E. actually quoting J. S. Bach's words.
philomelodia 3 years ago
Calling all composers!! DING DING! the time is now 1750!!!! The Baroque shift is ending; will all Baroque composers file out in an orderly fashion so that the Classical shift can begin! Any Baroque Composers staying on for the Classical Shift may take a 10 minute break while the Classical composers get set up! From this moment on We will no longer be serving Fugues- Minuets will be served instead.
LutenistDeMari 3 years ago
Even if CPE were not quoting his father on that one, how can his words NOT be relavant to JS's music??? The father taught the son; the sons compositional style differed and tastes changed, but do you really think that in 1750 they liked strict and straight playing, then in 1760 they suddenly turned around and played with feeling? Just because today we say one is 'baroque' the other 'classical', doesn't mean they existed in isolation.
LutenistDeMari 3 years ago
It's the opposite...your taking of solo music to be dance synthesization is...abstract...in the extreme.
smithsherman 3 years ago
You don't understand me if you use absolutes like this. I'm not saying solo music should be a synthesis of dance music. I'm saying the heartbeat of dance movements in solo music, the 'feel' the beat in the loosest sense, comes from dance.
LutenistDeMari 3 years ago
I'm not trying to understand "You".There is no "Heartbeat"in solo music.
smithsherman 3 years ago
I've never seen the word "you" in inverted commas in that context before. Presumably you think I'm not me?
LutenistDeMari 3 years ago
You haven't given any evidence to support your possition that a dance movement has NOTHING to do with dance rhythms. Should I assume you simply 'feel' this way, and are uninformed? Or do you know of a source from Bach's day that supports your view?
LutenistDeMari 3 years ago
The melody sounds off, tempo-wise. Where is the original music for lute? Has it changed for the guitar? Because I hear a lot of pauses and 'galloping' in this rendition that shouldn't be taking place.
JohnnieNaked 4 years ago
It is much harder to play up-tempo on a lute. The strings (courses) are double, either in unison (stopped strings), or octaves (lower bass strings). Both strings must be plucked simultaneously, and this takes time.
jazzgeir 4 years ago
As to pauses and 'galloping', Louis plays this piece in a way that could well have been the way they played it back then. This is a field subject to huge speculation and knowledge, and hearing a piece played differently rythmically just adds to the experience, IMO.
jazzgeir 4 years ago
They had a much looser rythmic practice back then. Short notes were played shorter far away from the beats, and far away from the first beat in each bar... They used "even 8ths" or even even triplets very rarely, supposedly. A piece should "swing", and if it doesn, you have to come up with some ideas on how to do it. ;-)
jazzgeir 4 years ago
I completely disagree with this. The interpretation is fundamentally different from the way the piece is WRITTEN, in the language of the piece that has been more or less precisely preserved from the way it was written.
If Bach wanted it played that way, he could have easily WRITTEN it that way.
I'm not saying his playing is not excellent, but I dislike the 'interpretation' or whatever.
JohnnieNaked 4 years ago
If you play as written, *any* music will be terribly boring, without swing, life and energy. If baroque music was an excact science, we would have stopped listening to it centuries ago.
I guess we'd all be shocked if we heard this music played by musicians of that day, on instruments of that day.
jazzgeir 4 years ago
I fail to see how dynamics or lack thereof affect how a piece was written. Playing the proper tempo, time signature and notes is how written music is usually played lol. I highly doubt Louis is improvising here, as I can see the score in front of him.
With that said, he is an excellent player but I still don't like the interpretation as it deviates too much from the actual piece.
I don't wanna hammer at a rusty nail anymore though, I digress.
JohnnieNaked 4 years ago
I don't see how he could've written it THIS way, even if I can get this "way", it even sounds "familiar", something is right about it (maybe it's some "Gavotte feel" I recognize from elsewhere).
Ramatganski 4 years ago
This situation is exactly the same as in Jazz music, for example, where when properly played it isn't at all as linear as it's written, so if one isn't more aware to the background and more into the stuff - rather than just familiar with the notes - than they most probably won't arrive to a swing or a groove that's appropriate for a lively rhythmical rendition (this is a 'Gavotte' - a dance, so it most likely has it's particular rhythmic feel with which a specialist may be familiar with...
Ramatganski 4 years ago
At J.S.Bach's time a composer's written music was actually more like written Jazz or other forms of popular music rather than what it came to be at modern times).
Note that I'm not saying that this is the ONLY right way to play this piece, but that there's something very right about it - that it's more than legitimate.
Ramatganski 4 years ago
I agree with you in the main, but Bach was somewhat more fastidious and meticulous than most composers of his time, writting out ornaments, dotted rhythms where normally they would be done anyway, and so on. However, noone should criticise Louis this much for putting a bit of inegales into this piece. Everyone else plays it straight, whats wrong with one person swinging it? Perhaps Louis shows us how a frenchman would play this piece in Bachs day, while Nigel North shows us how a German would.
ThisDream 4 years ago
Ah, so is that the "feel"? (French style).
Come to think of it this whole 5th suite is perhaps more "French" then the others, isn't it? (with the Overture opening, the rich, heavy polyphony and ongoing prolonging of tension (like in some of the French baroque lute music I heard), those sophisticated rhythms and an atmosphere of "noble" seriousness and sophistication as a whole. What do you think?
Ramatganski 4 years ago
I think this is a very french suite by Bach, yes you're right. And back in Bach's day all the best musicians and critics wrote of a sense of feel or 'air' that was that indefinable taste or treatment separating bland from living performance. The baroque musical tradition was a living one, not so strict and stately as too many people think today.
ThisDream 4 years ago
Do you think Gaultier gave a damn about the way a piece was 'written'? To quote Castaldi "whoever can play what's written can guess what is not". Why do you all critisice his notes inegales when the main problem is the over-heavy accent on every beat.
ThisDream 4 years ago
Well you can play Corelli, Quantz Gaultier exactly as they are "WRITTEN" and see where that gets you. Musicians from the baroque did not respect the score as the ultimate indication of the composers intentions, the way we do today. This is a 19th century concept.
ThisDream 3 years ago
I've painfully learned, finally after much fuss, that arrangements for classical guitar give a pale indication, at best, of what the lute pieces sound like when played on the original instrument. The same holds true for suites done on the lute that were written for cello or violin versus their guitar-arranged counterparts. I'm a classical guitarist myself and I love, for instance, the bouree from bwv996 on the guitar whereas the tempo on the lute sounds slow to my ears. Different kind of beauty.
philomelodia 3 years ago
Wow so good but why are you playing the melody in triplets? They should be 8th notes.
JohnnieNaked 4 years ago
No, it is really written in triplets by Bach himself, even if it is, that's true, a little unusual for a Gavotte in the French style.
lpernot 4 years ago
Triplets as clearly indicated in the music. It would sure sound silly stressed otherwise.
welltuned24 4 years ago
It was interesting to hear your lute; it has a beautiful tone. The one I have is the exact same model done by Van de Gheest but in '79. Much the same but not quite as bright which may be due to recording or strings. I play on Boston Catlines for the trebles and Copper wrapped nylon in the bass; if you don't mind me asking, what do you use?
welltuned24 4 years ago
Of course, the recording for "you tube" is not very sophisticated and doesn't give a real idea of the true sound. I hope it is better than what we can hear there!
For the strings, they are, all of them, gut strings. For the basses they are made by a researcher C. Besnainou who found a way to make exceptionally good catlines, but they cannot be bought today. The problem with copper wrapped nylon strings is that they last too long and make impossible to play this kind or piece at that tempo...
lpernot 4 years ago
I would think that dynamics play a role in the selection of bass string materials as well. The copper-wound strings have a huge sustain, but also plays very loudly, so that the sound would become a bit misbalanced with too powerful basses.
jazzgeir 4 years ago
So, it's kind of like a guitar, mandolin, and bass rolled into one?
tehblunderbuss 4 years ago
Yes it is a little of all that, but the lute existed before all those instruments...
lpernot 4 years ago
More Bach plucked, more Bach plucked!
warrkrymez 4 years ago
Bravo!! J'adore la musique medievale, la lute, la harpe. Et j'ai evidemment le CD de Bach pour ses pieces de Lute. !*!*!*!*!*!
Occitane53 4 years ago
very good.
great performer
:)
camofox 4 years ago
wow, that's talent!
how many strings does that have?
thegoatgirl 4 years ago
Thank you...
This lute is the usual german baroque lute with 13 courses. Each course is formed by a pair of strings, except the first two. And so, there shoud be 24 strings...
lpernot 4 years ago
wow! that is so amazing!
so this is you playing? you are really good. i love listening.
thegoatgirl 4 years ago
Louis Pernot has a thing that I call "CULTURE".
jackreneee 4 years ago 2
who made the lute? Nice sounding, also nice work, harkingly to the period. Thanks for sharing
hermawanlukman 4 years ago
The lute has been made by Jacob van de Geest from Switzerland in 1985. All the strings are in Gut. It is a 13 courses lute, but the sound is rather in the esthetic of the XVIIe century french music...
lpernot 4 years ago
Very nice interpretation. I would like to hear more !
dreamusica 4 years ago
Wonderfull! truly masterful, encore.
jamarriage 4 years ago
beautiful melody and fantastic interpretation.
thanks for uploading : )
654321654321 4 years ago