Brilliant Recording
This is a brilliant recording of high repertoire value, which will appeal both to lovers of the harpsichord and of the lute.
G. Böhm: Praeludium, Fuge and Postludium in G minor for Lautenwerk, Suite in A minor for Lautenwerk, Suite in F major for Lautenwerk, Suite in D minor for Lautenwerk, Suite in E flat major for Lautenwerk, Suite in F minor for Lautenwerk
Geoffrey Thomas (Lautenwerk)
NCA 60115-215
(CD: 58′ 2001)
Artistic quality: 8
(Evaluation scale: 1-10)
Sound quality: 10
General impression: 9
George Böhm, a contemporary of Johann Sebastian Bach, was born on September 2, 1661 in the proximity of Ohrdruf (Thuringia) and died on the 18th of May 1733 in Lüneburg. He composed predominantly for keyboard instruments and left us a noteworthy collection of organ works. Due to his position as organist in the Johanniskirche in Lüneburg he could have had contact with Bach. At any rate the young Johann Sebastian was there at the same time as a choirboy. Böhm’s works for “`lautenwerk” are likewise an allusion to this ”proximity” to Bach, who possessed three of these instruments (lautenclavicymbel), and also composed works for them. “It had two choirs of gut strings, and a so-called octävchen of brass strings. It is true that in its normal disposition (when only one stop was on) it sounded more like the theorbo than the lute. But if one used the lute stop with the cornet of the so-called clavicymbeln, one could even fool professional lutinists. So much then for the sound of the “lautenwerk”…
The suites are made up of four movements, consisting predominantly of sets of allemandes, courantes, sarabandes and gigues as well as the occasional
ciacona. Böhm, like Bach, was affected by many European music styles, but most especially by the Italian and French styles. The French influence on Böhm can be readily heard, particularly in the gigues in 6/8, which show the influence of the French harpsichord composer D’Anglebert. The irregular and dotted rhythms in the courantes are also noteworthy. The sarabandes bring a special point of rest within the suites. Here the tonal beauty and characteristics of the two-manual lautenwerk are particularly prominent.
Geoffrey Thomas interprets the works with the necessary respect and a resultant sense of style. This is a brilliant recording of high repertoire value, which will appeal both to lovers of the harpsichord and of the lute.
Andreas Paar
(20.05.2003)
