Lutefest 2023 – Friday Schedule

The lute tablature fragment with the signature CZ-Pnm XIII B 237, also known as the Codex Jacobides, is one of the most seminal Czech relics of lute music, and instrumental music in general, of the early 17th century. It comes from Prague during and after the reign of Emperor Rudolf II. In all likelihood, it was written and used by someone connected with the Prague University, presumably a student. Unlike all the other lute tablatures from the Czech milieu dating from this era, Codex Jacobides also contains art music for solo lute, including the earliest surviving instrumental piece where we know the name of the Czech composer. Codex Jacobides also includes intabulations of Regnart’s German villanelle, of French chansons and Italian madrigals, and period dances from various countries—a testimony to the international culture of Prague during the reign of Rudolf II.

Most solo lute pavans, galliards, almains, etc. from England include a written-out repetition of each section with embellishments. But what should we do when these decorated repeats are missing? In this class, we’ll work from the premise that a skilled player of the time would have composed or improvised his/her own decorations, and that we can do the same. We’ll build our stylistic vocabulary by studying original lute solos whose written-out repeats make use of broken chords, simple divisions, and other accessible variation techniques. Then we’ll look at some similar pieces which are missing their repeats and begin to have fun inventing our own embellishments in the style of Dowland, Cutting, etc. This class hopes to be of interest to players at all different levels.

Masterclasses are open to performers and auditors. If you wish to apply to perform in this masterclass, please be sure to check the box on the first page of this form. You will need to send an audition video to the Festival Director. More information will provided after registration.

Taking its title from Elizabeth Goldsmith’s book on “the art of interaction in seventeenth-century France,” in this class we will look at French lute style from the perspective of codes of communication among the aristocracy, as well as the would-be aristocracy who were buying the books by Gaultier, Mouton and Gallot. Did these books reveal or conceal the masters’ secrets? We’ll also look at the next generation, especially the “updating” undertaken by Robert de Visee and his transfer of the style to guitar and theorbo.

Class description to be announced soon.