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The Lute Part XIII
The English lutenist, teacher, and musicologist Diana Poulton, whose long and fruitful life spanned every decade of the twentieth century, is one of the most important figures in the history of the lute.
She was one of the first pioneers in the twentieth century reawakening of interest in the lute. Her contributions include hundreds of radio broadcasts of solo lute music over the BBC beginning in 1926, annual performances at Alfred Dolmetch’s Haslemere Festival between the World Wars, and the founding of The Lute Society with Ian Harwood in 1956.
Her most profound legacies are the pantheon of lutenists who studied with her privately and at the Royal College of Music, and her works of dedication and scholarship devoted to the life and music of the composer with whom she will always be associated, John Dowland.
The Lute Appendix iv b
Dowland on CD: A Survey of the Solo Lute Recordings: Part I
(Throughout this appendix,
* indicates a recording I have not heard.)
Dedicated Recitals on Single Discs
As with the complete editions, three lutenists have recorded entire CDs dedicated to Dowland’s solo lute music:
The Lute Appendix iv a
In preparation for my (forthcoming) articles on the life and music of John Dowland for this series, I found myself playing, listening to, and reading about his music more often this year than I have in some time. Coming back to Dowland’s music after any length of time is always refreshing. As my intent this time around is an attempt to regard Melancholy John’s œuvre more comprehensively, I eventually found myself methodically listening to all of the recordings of his music I’ve collected over the years, and hence, the idea for this appendix.
This past weekend I had the great pleasure of participating in Music City’s first ever festival dedicated to music from before the time of Haydn, Mozart, and Beethoven. The inaugural Nashville Early Music Festival was held Friday & Saturday, September 25 & 26 at Lipscomb University (the festival’s sponsor), and included copious performances of (mostly) baroque music by local musicians as well as visitors from around the country, as well as more informal presentations, masterclasses, and opportunities for musicians, students, and anyone else interested in Early Music to listen, learn, converse, enthuse, and make friends.
I know that I am not alone in hoping that this is only the first annual event for a festival that will grow into a tradition, bringing Early Music to Nashville for years to come.