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Bach - Lute Works (Paul O'Dette)

Recorded 2006 | Released 2007

"Johann Sebastian Bach so admired the sound of the lute that he designed a gut-strung harpsichord to imitate it (Lautenwerk) which ‘deceived the ears of the best lutenists’. This invention permitted him, as a keyboard virtuoso, to compose astonishing pieces for ‘lute’ that are unplayable on the 13-course instruments of his day! Paul O’Dette has taken up this challenge, introducing into these arrangements of suites and partitas just what was needed to make them sound natural on his instrument." (Harmonia Mundi)

Personnel:

Paul O'Dette: lute

Recording:

March 2006, Françoys-Bernier Concert Hall, Le Domaine Forget, St. Irénée, Cité Charlevoix, Québec

Harmonia Mundi HMU 907438

Track listing:

1. Suite in A minor BWV 995: Prelude - Très Vite

2. Suite in A minor BWV 995: Allemande

3. Suite in A minor BWV 995: Courante

4. Suite in A minor BWV 995: Sarabande

5. Suite in A minor BWV 995: Gavotte I & II en Rondeaux

6. Suite in A minor BWV 995: Gigue

7. Partita in E major BWV 1006a: Prelude

8. Partita in E major BWV 1006a: Loure

9. Partita in E major BWV 1006a: Gavotte en Rondeaux

10. Partita in E major BWV 1006a: Minuet I & II

11. Partita in E major BWV 1006a: Bourée

12. Partita in E major BWV 1006a: Gigue

13. Sonata in G minor BWV 1001: Adagio

14. Sonata in G minor BWV 1001: Fuga - Allegro

15. Sonata in G minor BWV 1001: Siciliana

16. Sonata in G minor BWV 1001: Presto

Reviews:

BBC Music Magazine

Paul O’Dette is the first to admit that we can’t be sure Bach actually played the lute. His 'lute works' fall off the bottom of the normal 13-course instrument unless they are transposed upwards, are written in keyboard notation rather than lute tablature, and are laid out in a distinctly 'keyboard-friendly' way. Bach so admired the sound, however, that he had a ‘Lautenwerk’ made for himself, a keyboard instrument with gut strings which one of his pupils said 'could almost deceive even professional lutenists'.

The pieces here are expanded arrangements, largely by Bach himself, of music for solo cello and violin, so confining them within the finger-board and 13 strings of a lute is a huge technical challenge. O’Dette responds magnificently, playing with a sense of total ease – fluent, expressive, sensitively balancing contrapuntal lines. He’s also delightfully flexible in dance movements: a Gavotte en Rondeaux (BWV1006a) wittily wayward in its reappearances, a Courante (BWV995) enlivened with dancing notes inégales. The recording, in a warm acoustic, is excellent – intimate but spared the clatter and scrape of fingers on strings. It’s hard to imagine a better start to O’Dette’s on-going Bach project.

ClassicsToday

Every few years it seems the CD catalog is enriched by a new set of performances of Bach lute works, and in this latest project, the much-admired virtuoso Paul O'Dette offers his own (quite successful!) resolutions to issues concerning Bach's intentions regarding performance--as written, most of Bach's scores are not wholly playable on the standard 18th-century 13-course lute. Even beginning in Bach's time and continuing to the present lutenists have produced various alternative transcriptions, revoicings, and transpositions, and O'Dette has chosen thoughtful, creative solutions (opting for Hopkinson Smith's suggested A minor transposition of the G minor suite, for instance), maintaining idiomatic textures while employing fingerings that allow remarkable fluidity, continuity of contrapuntal lines, and unobtrusive register shifts. Yes, we fully recognize the original violin partita as the source of the Partita in E major BWV 1006a (which O'Dette transposes to F major), but as articulated on the lute, its various dance movements somehow sound, well, more "dance-like", less formal.

The lute's usual quick sound-decay is not really an issue here due to the very resonant venue -- the concert hall at Québec's Le Domaine Forget --a site designed specifically for music performance and known for its excellent acoustics (and extraordinary silence!), but whose "live" space can also require some serious taming for optimal recorded sound. For this recording, the "live-ness" at first seemed a bit extreme for my ears, making me feel too alone in too big a space. But the longer O'Dette played, the less concerned I became, because each note sounded so clearly, the chords ringing fully and warmly, and with no extraneous noises or performance artifacts. After a few minutes I was fully engrossed in the music and happily enveloped in the sound. Also happily, this disc is Volume 1, so we can expect more beautiful Bach from O'Dette and his HM recording team. Bravo!

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