Merci, j'aime ce mot de "désenchantée". C'est en effet une musique tout en retenue et intériorité, sans facilité ni volonté de séduire. Mais elle ouvre sur une autre dimension, et "élève l'âme".
I'm a lutenist from Portugal. I think every lutenist has to listen and learn from your recordings. The clarity of your discourse is astonishing. Your sound speaks clearly and serves the rethoric of the music very well.
Your performance it's not only beautifull, it's a breath of fresh air.
@CuriousMoth Thank you very much... I think that one part of the problem il that the sound I a looking for is not the one that most lutenist like today. Many of them want a round and and soft sonority while my researches leads me to think that the original sound was not necessarely what seduces us naturally today. I dont pretend to do what should be an example, and my sound has many imperfections.
@lpernot I agree that too many musicians think classical music must be unfailingly pretty of tone. On the other hand, I don't think there can be a 'concept of original sound', for surely some 17th century pros played in a pretty way many while others differently such as with a dry crackling woodsy texture like you... People tend to play as they are, which leads me to think that Vieux Gaultier played in a sassy and impertinent way not at all beautiful... but arresting.
For example it is clear that most of the today lutenist play almost on the rose whereas the treaties and the iconography shows at 90% that the right hand should play next to the bridge. If you do so necessarely, the sound will be harsher that if you play nearer of the center of the string.
@lpernot What I find surprising is that more people in this day and age don't appreciate the music on its own merit. I suspect you're right in terms of historical context, as whenever you see a painting, the lutenist tends to be holding the lute as you hold yours. Regardless, I find myself wondering why anyone would rate a piece of music down because it doesn't fit the modern style. Surely the fact that it's not the same as what everyone else is doing is part of what makes it good?
This is French Baroque at its finest! Are the "Double" variations your own or is this from some 17th century source? In the Minkoff facsimile of the Barbe MS (p. 217 is this Sarabande) there is no written out Double.
For some reason, I had always thought that double variations were meant to be played as repeats (i.e. AA' BB') and am surprised to hear that you first play the piece in full and then begin with the Doubles (i.e. AB A'B'). Is there any evidence in favor of one way or the other?
A practical fact is that I dont think they would turn three times the pages to play the piece. But it seems to me that even in Dufaut, there is a Sarabande with a double written as you say AA'BB', and so there is maybe not a definitive answer.
In the case of those doubles of the middle of the 17e century, they were more ofthen written by the composern not as personnal improvisation or developped ornaments, and always appears in the manuscript as a whole piece placed after the original and often after a turn page. .. Followed
The double il not my own it can be found in the vm76213 manuscript (or in the CNRS modern edition or Dufaut's work). Your are wrigt that many treaties speak says that the player can play the repeat with some variations, But first I thinh this habit is a little later than this musiic (end of the 17e century and later), and those variations were mainly the fact of the player, not the composer.
Despite the folk who just in bravura nay say, the piece is charming as is the play. I've tried to play the French on the 13c as well, but not with the success you display. They were charmed then with the music as I am now, with playing of kindling near and dear the heart needing warmth. Music making at its finest I say, and again, thank you.
Louis, I find your interpretation both graceful and heartfelt; the overtones of the instrument resonate well to fully convey the fine musicality of your performance. Bravo!
"Your tone is 'harsh" is not what I was suggesting.I was drying to tell him that his tonal aesthetic makes me feel as I do when I walk through dense forest in the winter with the crushing of sticks and snow underfoot and branches against my jacket.The observation is matter of fact...not critical.
and acoustic, in a church perfect place for the sound. i play a 10 course renaissance lute mainly robert ballard. Here is a request, the lovely Carillion de Village , by Nicholas Verlet, that would be nice to see!!!
Merci, j'aime ce mot de "désenchantée". C'est en effet une musique tout en retenue et intériorité, sans facilité ni volonté de séduire. Mais elle ouvre sur une autre dimension, et "élève l'âme".
lpernot 1 month ago
I'm a lutenist from Portugal. I think every lutenist has to listen and learn from your recordings. The clarity of your discourse is astonishing. Your sound speaks clearly and serves the rethoric of the music very well.
Your performance it's not only beautifull, it's a breath of fresh air.
Thank you for sharing your music,
Tiago
Tyker7 1 month ago
J'aime cette sorte de majesté desenchantée dans les pièces de Dufaut.
Merci de l'interprêter comme ça.
lledew 4 months ago
This is beautiful. I can't think why anybody would click dislike for something like this, let alone twenty times.
CuriousMoth 5 months ago in playlist More videos from lpernot
@CuriousMoth Thank you very much... I think that one part of the problem il that the sound I a looking for is not the one that most lutenist like today. Many of them want a round and and soft sonority while my researches leads me to think that the original sound was not necessarely what seduces us naturally today. I dont pretend to do what should be an example, and my sound has many imperfections.
lpernot 5 months ago
@lpernot I agree that too many musicians think classical music must be unfailingly pretty of tone. On the other hand, I don't think there can be a 'concept of original sound', for surely some 17th century pros played in a pretty way many while others differently such as with a dry crackling woodsy texture like you... People tend to play as they are, which leads me to think that Vieux Gaultier played in a sassy and impertinent way not at all beautiful... but arresting.
VelikyRostov9 1 month ago
@CuriousMoth
For example it is clear that most of the today lutenist play almost on the rose whereas the treaties and the iconography shows at 90% that the right hand should play next to the bridge. If you do so necessarely, the sound will be harsher that if you play nearer of the center of the string.
lpernot 5 months ago
@lpernot What I find surprising is that more people in this day and age don't appreciate the music on its own merit. I suspect you're right in terms of historical context, as whenever you see a painting, the lutenist tends to be holding the lute as you hold yours. Regardless, I find myself wondering why anyone would rate a piece of music down because it doesn't fit the modern style. Surely the fact that it's not the same as what everyone else is doing is part of what makes it good?
CuriousMoth 5 months ago
@CuriousMoth
de louis a louis: louis aime beaucoup (jeune neveu de Jean Sebastien W! 9 ans)
claire
misscupcake127 4 months ago
This is French Baroque at its finest! Are the "Double" variations your own or is this from some 17th century source? In the Minkoff facsimile of the Barbe MS (p. 217 is this Sarabande) there is no written out Double.
For some reason, I had always thought that double variations were meant to be played as repeats (i.e. AA' BB') and am surprised to hear that you first play the piece in full and then begin with the Doubles (i.e. AB A'B'). Is there any evidence in favor of one way or the other?
lpernot 6 months ago
A practical fact is that I dont think they would turn three times the pages to play the piece. But it seems to me that even in Dufaut, there is a Sarabande with a double written as you say AA'BB', and so there is maybe not a definitive answer.
lpernot 6 months ago
In the case of those doubles of the middle of the 17e century, they were more ofthen written by the composern not as personnal improvisation or developped ornaments, and always appears in the manuscript as a whole piece placed after the original and often after a turn page. .. Followed
lpernot 6 months ago
@ludustestudinis Thank you for your comment,
The double il not my own it can be found in the vm76213 manuscript (or in the CNRS modern edition or Dufaut's work). Your are wrigt that many treaties speak says that the player can play the repeat with some variations, But first I thinh this habit is a little later than this musiic (end of the 17e century and later), and those variations were mainly the fact of the player, not the composer.
lpernot 6 months ago
Despite the folk who just in bravura nay say, the piece is charming as is the play. I've tried to play the French on the 13c as well, but not with the success you display. They were charmed then with the music as I am now, with playing of kindling near and dear the heart needing warmth. Music making at its finest I say, and again, thank you.
welltuned24 10 months ago
@welltuned24 ... Thank you for your comment... The main thing is that this so beautiful music gives joy to you...
lpernot 10 months ago
Beautiful.
RFeynman 2 years ago
EXCELENTE SARABANDA lacidesromero48
lacidesromero48 3 years ago
A beautiful little piece delicately and sensitively played. Thank you, Mr. Pernot, I hope you'll do more videos soon.
liamstoaster 3 years ago
If my reply did not get through, many thanks again for the reference re the music tablature - wonderful
Mollineaux 3 years ago
muy bien :)
pethead87 3 years ago
sweet melody, the sound itself a bit rough... but it makes a wonderful composition.
didgeridoogirl 3 years ago
A superb and inspiring performance;is the lute tablature for this piece available for download on the net does anyone know ?
Mollineaux 4 years ago
Louis, I find your interpretation both graceful and heartfelt; the overtones of the instrument resonate well to fully convey the fine musicality of your performance. Bravo!
welltuned24 4 years ago
It's interesting that you prefer a tonal aesthetic
that is rustic and crackled dry wood bouncing
off the front of the crown of the head.I enjoy
your repertoire and the fact that you make an attempt
to play gesturally.I hope that you vary the heirarchies in the gestures more.I also hope that
you make more French Baroque videos.regards,Smith
smithsherman 4 years ago 2
"It's interesting that you prefer a tonal aesthetic
that is rustic and crackled dry wood bouncing
off the front of the crown of the head."
-Are you on acid?
mignal 4 years ago 6
He is trying very hard to say, 'your tone is harsh' in the most convaluted, intellectual way possible.
LutenistDeMari 4 years ago
Dear DeMari,Thank you for the interpretation.
"Your tone is 'harsh" is not what I was suggesting.I was drying to tell him that his tonal aesthetic makes me feel as I do when I walk through dense forest in the winter with the crushing of sticks and snow underfoot and branches against my jacket.The observation is matter of fact...not critical.
ClassicalMusicReview 3 years ago
I have long been an admirer of the french lute school
"well done" sensitive interpretation!!!!! lovely sound
and acoustic, in a church perfect place for the sound. i play a 10 course renaissance lute mainly robert ballard. Here is a request, the lovely Carillion de Village , by Nicholas Verlet, that would be nice to see!!!
A lutenist from australia
Fantasia034 4 years ago
Bravo, pour la musique, l'interprétation et aussi la prise de vue !
Luthval 4 years ago 2