Sarabande Dufaut, Luth lute (Louis Pernot)

Sarabande & double en sol mineur (g min) Luth baroque lute (http://louispernot.com)

Category:

Music

Tags:

• music
• dufault

[lpernot]

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".

[CuriousMoth]

This is beautiful. I can't think why anybody would click dislike for something like this, let alone twenty times.

[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]

@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]

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]

@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.

[mignal]

"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?

[smithsherman]

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

[Tyker7]

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

[VelikyRostov9]

@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.

[lledew]

J'aime cette sorte de majesté desenchantée dans les pièces de Dufaut.

Merci de l'interprêter comme ça.

[misscupcake127]

@CuriousMoth

de louis a louis: louis aime beaucoup (jeune neveu de Jean Sebastien W! 9 ans)

claire

[CuriousMoth]

@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?