Jakob Lindberg

Italian Lute Virtuosi of the Renaissance

Fantasia No. 34: Fantasia No. 34, "La Compagna"

Ricercar No. 3

Ricercar No. 51

Fantasia No. 15

Ricercar No. 30

In te Domine speravi

Nous Bergiers (arr. M. Dall'Aquila for lute)

Ricercar No. 32

Plus nulz regretz (arr. M. Dall'Aquila for lute)

Pavan, "La Romanesca"

Fantasie No. 20

Or vien ca, vien, m'amye (arr. A. de Rippe for lute)

Fantasia No. 22

Fantasia No. 66

Quanta beltà, quanta gratia e splendore (arr. F. da Milano for lute)

Fantasie No. 13

O passi sparsi (arr. A. de Rippe for lute)

Fantasie No. 16

Ricercar No. 33

Saltarello, la Traditora: Saltarello, "La Traditora"

Fantasia No. 19a

Il est bel et bon (arr. M. Dall'Aquila for lute)

Fantasia No. 55

De mon triste et desplaisir (arr. F. da Milano for lute)

Tu disoys que j'en mourroys menteuse que tu es (arr. F. da Milano for lute)

Fantasia No. 33

Kristi Dårar

The Essential Kristi Dårar

Fools for Christ Forever

John Dowland

Dowland

One of today’s foremost exponents of his instrument, Jakob Lindberg arrived at the lute by way of the guitar and played both for several years. When he decided to devote himself exclusively to the historic lute repertoire it was with some regret that he gave up his first love. During his last year with the modern guitar Lindberg was working on Benjamin Britten’s Nocturnal after John Dowland, one of the seminal guitar works of the 20th century. Much later, when he learned that Britten had originally had in mind to compose a piece for the lute, he started to experiment playing sections of Nocturnal on his Renaissance lute, and soon decided to make a transcription of the complete work. Nocturnal is based on Dowland’s four-part song Come, Heavy Sleep, and inspired by this, Jakob Lindberg has placed it as the center piece of a recital with mostly Elizabethan pieces, many of which also evoke aspects of the night. Dowland himself is represented by a selection of six lute solos, while the opening section consists of five pieces by Dowland’s older colleague Anthony Holborne. The closing track is by Holborne’s contemporary, John Johnson, and bids the listener Good Night and Good Rest.

Nocturnal

The lute by Sixtus Rauwolf heard on this recording was probably built in the last decade of the sixteenth century. Some hundred years later, in 1715, it was converted to suit the musical tastes and demands of the baroque period. For this disc, Jakob Lindberg has chosen works that could have formed part of the repertory of the presumably German owner of the instrument at around the time of its final conversion. For German lutenists from about the middle of the seventeenth century, it was France that provided the aesthetic and musical model, and towards the end of the century, when the lute rather suddenly and inexplicably dropped out of fashion in Paris certain French luthistes travelled abroad and met with great success in German-speaking lands. With them, they took their music and special traditions of lute-playing, evidence of which can be seen in the music of several of the German composers included here. The disc closes with a suite of pieces by Silvius Leopold Weiss, the most famous lutenist of the baroque era. Weiss, Lindberg and the Rauwolf lute first crossed paths in 2006 on a highly acclaimed all-Weiss disc (BIS-1524): ‘Too good to be true’ was the verdict in International Record Review while the reviewer in Goldberg Magazine wrote ‘As an evocation of the lute's magical qualities, this deserves to achieve cult status.’

A Lute by Sixtus Rauwolf: French & German Baroque Music

Jacobean Lute Music

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Italian Lute Virtuosi of the Renaissance

Song List

More from Jakob Lindberg