The Lute Songbook - Lautten Compagney

I haven’t been that familiar with Lautten Compagney, but one of the magical things that comes about to music streaming is the new awareness that comes of music and musicians as part of the crashing wave of abundant recorded music. What a wonderful time to be alive!

But since reviewing and listening to several of their albums, I might categorize them in the same company of groups like L’Apreggiata (dir. Christina Pluhar) who have decided to infuse their programs with a lot of creativity while embracing both music and instruments outside the strict historical cabinet. What I’d say drives both ensembles is the spirit of how baroque music is played, which goes behind what’s left on paper.

This album is a dedication to the ensemble’s past—which is captured nicely in the liner notes by its director, Wolfgang Katschner, who tells us about his start on the guitar. This album then isn’t “new” so much as a “best hits” album—but recorded anew with friends—highlighting the ensemble’s favorite pieces over the years. The music program isn’t all baroque; they go back to Dufay, Byrd, and Dowland, and even highlight some twentieth-century hits, including Percy Mayfield’s Hit the Road, Jack.

An exquisite picture is featured in the booklet (last page), which I wish every production included, to document the recording session for listeners. Taken from above, it shows the ensemble in a circular formation in Halle’s Freylinghausen-Saal in den Franckeschen Stiftungen. The wood floor and high ceilings speak somewhat to the acoustic of the album, which is clear, with excellent frequency representation from the bass with a large drum to the recorders and upper-register of plucked instruments, including harp. I did critical listening via headphones and was very impressed with the album’s sound quality (streamed at hi-res via Qobuz).

I started by listening to Massive Attack’s Psyche and Hit the Road Jack, which yes, was not specifically envisioned for a lute-centric ensemble. The stereophonic effect in Psyche with plucking happening all around you, centrally located, puts you in rainforest, with the lower, reedy melody realized by a viola da gamba. All around you a scene from Avatar develops. Or so that’s how I was inspired by this sound garden.

Hit the Road Jack is familiar, and showcases the ensemble’s ability to adapt both playing style and inclusion of percussion to make these work. I can’t be certain, but these types of arrangements—which on this album includes Norwegian Wood from Lennon and McCartney—speaks to their ability to fully engage the ensemble in a cohesive sound that transcends well to their instrumentarium.

The album isn’t skimpy, either, featuring 25 tracks with 69 minutes of music. It includes favorites of mine like Merula’s No, no chi’io non mi fido over a chaconne bass. Multiple instruments playing melody together are perfectly in sync, as if they’re one instrument. Purcell’s Triumphing Dance from Dido and Aeneas is festively presented, with tambourines. Morning Passages from their Glass album, from his soundtrack The Hours, includes pauses that allow us to revel in the acoustical magic at the Francke Foundation’s hall. The music peels way the ensemble, giving us a more intimate sound of just plucked lutes.

Robinson’s Twenty ways upon the Bells from 1603 starts with… bells (likely a xylophone, as bells specifically are not listed in the booklet), playing a simple theme that then turns into a contrapuntal celebration. Even though this music is simple and repetitive, it’s gold for those with excellent hi-fi. When the music pauses and the instruments all decay, it feels as if all the air is taken from your lungs. It’s very nourishing sound.

Dowland’s *Can she excuse my wrongs,” starts with recorder and harpsichord. The mood turns toward the east next, with the lutes and percussion coming in to decorate the harmony of the piece. It forced me to consider, in the arrangement’s progression, how successful Dowland may have been as a modern songwriter!

This album is easy listening but it achieves this through a well-mastered recording featuring instrumental experts—each and every one. It’s a certain collectable by those following this ensemble, but also serves as an apt introduction to their art as well. It is also a reminder of how good recordings can sound and delight the ears.

Recorded February, 2024; Benjamin Dressler, recording producer