"In playing this music, I followed some simple guidelines. It is important to understand that the music is played directly from its original notation - lute tablature - without changes, deletions or other enhancements. I prefer to think of them as adaptations rather than transcriptions and this is a guitar recording, not an attempt to imitate the lute. The pieces are played at the normal baritone pitch of the guitar, without the use of a capo on the neck, rather than at the higher pitch of the tenor lute. (Lutes were often made in families of instruments with different string lengths and body sizes adapted to ensemble playing, so it is entirely within historic practice that the music be played at this pitch. Indeed, it gives the music a meditative and appealing sonority.)

In order to preserve the chord structure and voicings so characteristic of the instrument, I opted to re-tune the guitar to the normal relative tuning of the lute, altering the third string so that the intervals remain the same (G=F#). In accordance with the speaking articulation of the period, I minimized the slurring of notes (one pluck, several notes) which is common in the music of the guitar.

One of the fundamental differences between the lute of the 16th century and the modern concert guitar is the stringing of the two instruments. In order to overcome the short sustain of gut strings, earlier lutes' bass courses were accompanied by a thinner string tuned an octave higher, which produces a shimmer in the sound, [an emphasis on higher partials]. There are numerous instances in which the higher of the two notes becomes important in the voicing, harmony and continuity of the melodic line. It is not really feasible to duplicate this feature on a single- stringed guitar, and I have added this note(s) where it is particularly important to the structure of the piece."
Alan Rinehart

1. Recercar Intavolatura di Liuto 1507a Fol 51v to 52r (Francesco Spinacino)
2. Recercar Intavolatura di Liuto 1507a Fol 52v to 53r (Francesco Spinacino)
3. Recercar Intavolatura di Liuto 1507a Fol 44v to 46r (Francesco Spinacino)
4. Recercar de tutti li toni Intavolatura di Liuto 1507a Fol 40v to 42r (Francesco Spinacino)
5. Tastar de Corde Intavolatura di Liuto 1508 Fol 6r (Joan Ambrosio Dalza)
6. Calata a la Spagnola detta terzetini Intavolatura di Liuto 1508 Fol 50v(Joan Ambrosio Dalza)
7. Pavana alla venetiana Intavolatura di Liuto 1508 Fol 16vr (Joan Ambrosio Dalza)
8. Calata a la Spagnola Intavolatura di Liuto 1508 Fol 47v (Joan Ambrosio Dalza)
9. Piva Intavolatura di Liuto 1508 Fol 23v (Joan Ambrosio Dalza)
10. Et in terra (Josquin) Capirola Lute Book 1517 Fol 65r (Vincenzo Capirola)
11. Pavana alla Francese Capirola Lute Book 1517 Fol 47r (Vincenzo Capirola)
12. Fantasia 69 (Ness) Francesco Canova Da Milano
13. Fantasia 82 (Ness) Francesco Canova Da Milano
14. Fantasia 52 (Ness) Francesco Canova Da Milano
15. Fantasia 40 (Ness) Francesco Canova Da Milano
16. Fantasia 10 (Ness) Francesco Canova Da Milano
17. Fantasia 33 (Ness) Francesco Canova Da Milano
18. Fantasia Tabulature de leut v4 1553 Fol 8 (Albert de Rippe)
19. Salterello Traditorella Casteliono Lute Book 1536 Fol 38r (Pietro Paulo Borrono)
20. Fantasia Pauli Baroni Phalese Luculentum Theatrum 1568 Fol 2v (Pietro Paulo Borrono)
21. Saltarello bel Fiore Casteliono Lute Book 1536 Fol 12v (Pietro Paulo Borrono)
22. Chiare fresche e dolci acque (Arcadelt) Intavolatura di Liuto 1563 p15 (Vincenzo Galilei)
23. Moresca detta la Burgamasca Intavolatura di Liuto 1585 p14(Giulio Cesare Barbetta)
24. Moresca detta la Canarie Intavolatura di Liuto 1585 p11 (Giulio Cesare Barbetta)
25. Moresca detto il Matacino Intavolatura di Liuto 1585 p13 (Giulio Cesare Barbetta)
26. Passemezzo detto il Commune Novae Tabulae 1582 Fol Clv (Giulio Cesare Barbetta)
27. Ricercar Siena Lute Book c1580 Fol 31r to 31v
28. Gagliarda Intavolatura di Liuto 1593 p127 (Giovanni Antonio Terzi)
29. Alemano Intavolatura di Liuto 1599 p25 (Giovanni Antonio Terzi)
30. Courante Francese Intavolatura di Liuto 1593 p132 (Giovanni Antonio Terzi)
31. Fantasia Quinta Intavolatura di Liuto 1599 p68 (Simone Molinaro)

Listen to: the entire album.

Release date: 07/26/2014
Alan Rinehart lives in Kelowna Canada

Tagged as: Classical, Renaissance, Instrumental, Composer: Albert de Rippe, Composer: Francesco Canova da Milano, Composer: Francesco Spinacino, Composer: Giovanni Antonio Terzi, Composer: Giulio Cesare Barbetta, Composer: Joan Ambrosio Dalza, Composer: Simone Molinaro, Composer: Vincenzo Capirola, Composer: Vincenzo Galilei, Lute

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4. Farewell I by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
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6. Essential Scarlatti by Colin Booth: solo harpsichord music
7. Bach-Paternoster by Vito Paternoster: cellist extraordinaire
8. Broadwood Grand Pianoforte 1809 by Susan Adams: Marvelously played classical piano pieces
9. Song of Prayer by Chad Lawson: Multi-award winning pianist and composer who is not afraid to put his hat in anything
10. Playing with Silence by Jeff Wahl: acoustic new age and jazz guitar.
11. Canarios I by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
12. Farewell II by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
13. Christmas Music by Magnatune Compilation: the best music from Magnatune
14. Sparkling - The Complete Preludes by Claude Debussy by Ivan Ilic: dazzling classical pianist
15. Canarios III by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed
16. JS Bach - Book 1 CD1 Well-Tempered Clavier by Daniel Ben Pienaar: virtuoso pianist playing Bach's 48
17. JS Bach by arrangement by Colin Booth: solo harpsichord music
18. Dancing in the Isles by Musica Pacifica: Baroque and traditional music from England, Scotland and Ireland
19. Goldberg Variations (JS Bach) by Andreas Almqvist: elegant classical guitar
20. Armato Il Cor by Poeticall Musicke: Late Renaissance and Early Baroque music, historically performed

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