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Sonate di Liuto Solo, Opera Prima
This work was probably first printed in 1736, only some months before the Partite di Liuto Solo, Opera Seconda, that are easier to play and, for the most part, have shorter mouvements. The six sonatas have three mouvements each and always begin with a slow Largo.
The music is mostly typically galant with short, but nevertheless beautiful, melodical phrases. Some of the mouvements have fugal elements, especially in Sonata IV, and are reminiscent of the late baroque.
Adam Falckenhagen (1697-1754)
Adam Falckenhagen is one of the last major lutenists; his style combines musical elements of the Hochbarock (high baroque) with elements of the galant style (Empfindsamkeit). Many of his works for baroque lute, either solo or with an ensemble, in various instrumentations, have been printed. Others can be found in miscellaneous manuscripts.
Adam Falckenhagen was born on the 24th April 1697 in Groß-Daltzig, about 20 km south of Leipzig. In Knauthain, he probably learned the lute together with Johann Christian Weiyrauch, who also seems to have intabulated, for baroque lute, some of Bach's works. Later, both of them studied law in Leipzig.
Falckenhagen stayed 4 years in Weimar from 1728, before he went to Bayreuth. There he found his life-time position as lutenist and clerk for Friederike Sophie Wilhelmine, Markgravine of Bayreuth-Brandenburg, who also played the lute masterfully. After his wife’s death, he remarried in 1740.
Adam Falckenhagen died on the 6th October 1754 at the age of 57.
Markus Lutz | Le Luth Doré ®2015
Sonata I, in C minor
Allegro un poco
A tempo giusto
Sonata II, in E-flat Major
Allegro un poco
Sonata III, in B-flat Major
Sonata V, in F Major
Sonata VI, in D minor
Allegro un poco
A tempo giusto
Fascinated by the music of Silvius Leopold Weiss, Markus Lutz learnt to play the baroque lute on himself. Especially he is interested in the lute music of the 18th century, by Austrian and German composers as Lauffensteiner, Weichenberger, Weiss, Falckenhagen etc.). Since 2000 he got involved in the research on Silvius Leopold Weiss and is responsible for the homepage on Silvius Leopold Weiss. Together with Peter Steur he established a catalogue of all baroque lute manuscripts.
For the German Lute Society (Deutsche Lautengesellschaft) he was involved in the publication of several facsimile editions of baroque lute manuscripts (Rostock Lute Book mus. saec. XVII-18.-52.2, Rohrau Weiss manuscripts, Kalivoda Manuscript). He also is preparing editions for Le Luth Doré Urtext Editions by composers like Adam Falckenhagen and Johann Georg Weichenberger.
He gives lectures on different topics that have to do with the baroque lute, amongst others: “The concerts of Johann Sigismund Weiss in London“ (2014), “The repertory of Mandora and Baroque lute“ (2016), “Johann Christian Gottlieb Scheidler“ (2016). Some of his research has been published by the German and the American Lute Society.
Markus Lutz lives in Bad Buchau and works as evangelical pastor. Since 2015 he also plays the Rennaissance lute.
As a musician and lutenist, Richard Civiol has chosen as his life's work the study of the lute and theorbp. These instruments have basically disappeared from our contemporary orchestras while growing in visibility in smaller ensembles and solo performances thanks in part to his efforts.
He participates with the same enthusiasm and expertise in the renaissance and baroque repertory of all the different instruments of the lute family as well as the practice of basso continuo.
Civiol is a member of the ensemble "Les Musiciens des Mademoiselle de Guise" directed by Laurence Pottier, and they have performed both in France and abroad. They have also done several CDs together. Civiol is a member of the music ensemble "L'Oiseliere", and has collaborated with other ensembles, orchestras or chorales including"La Fabrique a Theatre", the chamber choir "Les Temperaments", and has worked with Jean-Francois Fremont, Didier Bouture, Christophe Sam and Romain Champion.
Civiol is the holder of the Premier Prix in musical composition (in Paris, France?).
Finally, Civiol is engaged in a large project of copying and restoring music for the lute, theorbo and vihuela.
• Editor(s): Markus Lutz & Richard Civiol
• Music period: Baroque
• Instrument(s): 13c Baroque lute
• Instrumentation: Baroque lute solo
• Notation: French tablature
• Modern edition: Urtext
• Publisher: Le Luth Doré Urtext Editions
• Year of publication: 2015
• Collection: Lute and Theorbo Music Collection
• Pages: pp. 64
• Dimensions: 230x310 mm
• Weight: 0,320g
• Binding: Section sewn glue binding
• ISMN: 377-0-0017-8809-8
Le Luth Doré Urtext Editions
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About Le Luth Doré Urtext Editions
Our editions are urtext: we strive to provide reliable musical texts that are as true as possible to the existing sources and the composer’s intentions. We are aware, of course, that it is impossible to reconstruct the one and only urtext. Often, several manuscript sources exist for the same piece, and there is little reliable guidance for determining which version best represents the composer's intentions.
Although we cannot entirely dissipate historical uncertainty, we can compare texts and correct obvious errors, which sometimes occur even in autograph manuscripts. Sources have been meticulously examined - note by note, mark by mark.
The most important observations and editorial decisions are elucidated in the prefaces, in the critical commentary, in footnotes, or marked as such in the musical text. It therefore comes as no surprise that an editor has to invest a great deal of patience, knowledge and time when piecing together an urtext that is true to the source and, hopefully, to the composers’ intentions as well. Proven specialists with extensive knowledge and experience edit our Le Luth Doré Urtext Editions in close cooperation with our Editorial Department.
Each verified musical text preserves the original fingerings and notation of ornamentation and, in the absence of original manuscript notations, also sets forth helpful suggestions by modern masters regarding useful fingerings and ornaments faithful to historical style, as a stimulus to further thought and a starting point for the student's approach to performance.
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