Lutefest 2023 – Tuesday Schedule

With our world’s increasing demands upon our attention and time, it’s often difficult to commit to a regular practice routine. When we do get time alone with our lutes, our practice can easily become unfocused and inefficient such that we continue to practice our mistakes. Using the class’s participants as a supportive community, we’ll inspire each other to overcome our personal barriers to regular and effective practice, whether they be logistical or psychological. We’ll encourage each other to slow down, isolate technical & musical challenges, and create optimal practice strategies that will lead to cumulative improvement. Players of all experience levels are welcome, and a few willing participants are invited to screen-share a short passage of music we can use to discuss possible practice strategies.

The appearance of the Capirola manuscript in the second decade of the 16th century, and the fact that it has survived intact until now, is exceptional in many ways. In this class I will talk about how it compares to other contemporary lute sources, and speculate about how it may have been composed. Since this manuscript was not written by the composer himself, but by a student, I will look at the master-student relationship and how the lute was taught in this period. I will also examine the practice of lute playing in the early 16th century in general and how we may apply this knowledge to our own attempts to master the art of the lute.

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.

“He shows her how to pluck in a hundred beautiful ways” says one line in the first of two sonnets in La Rhétorique des Dieux, a source I have been exploring since first asking the question, “Do the titles really have little to do with the piece to which they’ve been given?” Allowing for the possibility that they might has led  down some interesting and revealing paths, some more more interesting than revealing. Yes, there are clues in the music, right under our eyes; and there are descriptions about the ability of Gaultier to move his listeners; and about the eloquence of his musical language that begin to come to light such that a 2-D  painting becomes a 3-D bas relief. We will explore these toward the end of becoming what Marin Mersenne called “harmonic orators.” While especially aimed at players of this repertoire, and those who want to but don’t know where to begin, some of the questions asked should lead the curious to explore other repertoires in a similar way.

This class takes us to the core of contemporary thinking on the interpretation of renaissance lute music; from breathing to phrasing, and through articulation, expression and ornamentation. Each participant is encouraged to play and to bring some music and questions to be discussed in the class. Intabulations are especially welcome. All Lutes at 440!

A lutebook by Lombard authors of the 16th century composers: Giovanni Paolo Paladino, Alberto da Ripa, Francesco Canova, Pietro Paolo Borrono. Original diminutions composed by the performer on vocal works by Arcadelt, Rogier and Ruffo.