There has been considerable
attention paid in some circles towards Sting’s Into the Labyrinth
on Deutsche Grammophon. This, his latest album, features
his performances of John Dowland. The spotlight has been placed
not necessarily on Sting’s own performances, but, as I think
was his main intention, towards the works of John Dowland and
specifically his lute works. The works of Leopold Weiss, in
this series, are well-situated to benefit from the subsequent
rise in interest in lute music.
This release, with
performances of Sonatas 15 and 48, is a delight; a disc well
worth listening to. The series of the works of Weiss continues
here with Volume 7; the first that I have heard. From all indications,
it will not be the last I have in my collection.
Both of the sonatas
here are eminently listenable, with the edge given to No. 48
which opens with a beautiful melodic line. The entire Allemande:
Andante has an expansive quality that Barto brings out wonderfully.
This piece, according to the liner notes, is undated, but is
indicative of Weiss’s mature work. This first movement makes
quite effective use of the lower register of the instrument,
which forms a firm foundation for the piece. The following
Courante, my favourite movement on this disc, continues
the overall tone of the work, though in a lighter mood, and
with faster tempo. Again it makes great use of the interplay
between the lower bass strings that toll out under the swifter
higher melody. Barto’s playing here is effortless, with a sublime
sense of timing and tone. The sound quality is just what you’d
expect from Naxos, cleanly
done. The recording aesthetic is intimate, with enough ambient
space to keep the sound from feeling too claustrophobic, though
close enough to capture Barto’s breathing in certain passages.
Sonata 15, dated around
1723, is no slouch either, beginning gently, though without
as prominently memorable a melody. There are two versions,
the earlier one being used for this recording. A later version
was copied around the time of Weiss’s death, according to the
liner notes, and has movements from another sonata showing up
in place of the shorter movements heard here. It is unclear
whether the later version was a mistake or reflected the composer’s
intention. The second movement in 6/8 time is delightful,
bright and motivated, and this sunny demeanour follows into
the next movement. The Sarabande is a dignified piece
that holds interest, beginning with the same chord that began
the opening Allemande and continues with meditative calm
and poise. The following Menuet gives us an intermediate
triple-meter step toward the giddy Gigue that closes
the sonata.
All in all, this is
a delight to hear, and, of the discs I’ve received for review,
the one I’ve returned to most often for repeated, enjoyable
listens.
David Blomenberg
see also Reviews
by Glyn Pursglove and Jonathan
Woolf
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Robert Barto (lute)
