He was a child prodigy and together with his father he traveled and performed at various courts. Later he studied with an unknown French lutenist. In the years from to , Esaias Reusner was in the service of a Silesian duke. Thereafter, he worked for a short time as a flute and lute teacher at the University of Leipzig. Finally in , he was appointed chamber lutenist at the court of Frederick William, Elector of Brandenburg in Berlin , where he remained until his death. Esaias Reusner is considered to be one of the best lute virtuosos of his time and one of the first great masters of the lute suites in Germany.
|Published (Last):||14 October 2012|
|PDF File Size:||14.19 Mb|
|ePub File Size:||13.81 Mb|
|Price:||Free* [*Free Regsitration Required]|
Esaias Reusner Jr. Then he appeared for a short time in Breslau, and in entered the service of the next member of the Silesian noble Piast family - Christian, Duke of Brieg. During his seven years of duty he most probably undertook a journey to Vienna, where he performed for the Emperor Leopold I Habsburg, who was very pleased with his playing. On 1 May , after a long agony, Reusner died there at the age of The collection opens with a very informative Preface, with an explanation of playing techniques and ornament signs.
This pieces clearly show that Reusner Jr. Quanz will call Stile misto. Allemanda de R. Courant de R. Sarabanda de R. Aria de R. Gigue de R.
Suite in B-flat Major Allemanda de R. Gavotte de R. Canarie de R. Ciacona de R. Suite in C minor Allemanda de R. Suite in F Major Allemanda de R. Ballett de R. Suite in D minor Allemanda de R. Suite in E minor Allemanda de R. Suite in G minor Allemanda de R. Suite in G Major Allemanda de R. Suite in A minor Allemanda de R. Suite in A Major Allemanda de R.
Suite in D Major Sonatina de R. Passagalia de R. Rolf Lislevand. Her special interests are solo repertoire of the 17th and 18th centuries for baroque lute, including research on Silesian lutenists, as well as miscellaneous chamber music with theorbo and baroque guitar as continuo instruments. Anna Wiktoria is also a literature lover, she has obtained a Bachelor of Arts degree in Comparative Literature at the Jagiellonian University.
As a performer, she was invited to cooperate with numerous ensembles, orchestras and soloists in her country and abroad, and took part in different recordings of early music.
Passionate about the baroque era, Jean-Daniel Forget is a self-taught lutenist. In order to play the forgotten lute works of the 17th and 18th centuries, he has copied and studied their manuscripts for almost 20 years. A long career as a computer scientist, having made him expert in programming, allowed him to utilize the normal logic of writing music, especially that which transcribes tablature for instruments with fretted strings.
In collaboration with Guy Grangereau. Forget was enlisted by Miguel Serdoura to help prepare the musical examples for his fine Method of the Baroque Lute.
Further on, he continues to assist Serdoura in the preparation of his lute editions. The main features are:. 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.
When facing ambiguity inherent to the sources, wise editorial judgment must take the place of textual certainty. 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. 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.
One of the cookies we use is essential for parts of the site to operate and has already been set. You may delete and block all cookies from this site, but parts of the site will not work.
You have no items in your shopping cart. English French English. Search: Search. Product was successfully added to your shopping cart. Product was successfully added to your comparison list. Availability: In stock. Add to Cart. Reusner is an author of 3 collections of solo lute music: Delitiae testudinis reprinted twice as Erfreuliche Lauten-Lust ,. Concordances Ms. Code Ms. A-KR79 v Allemanda de R. A-KR79 18v Courant de R. A-KR79 19r Sarabanda de R.
A-KR79 19v Gigue de R. A-KR79 20v Courant de R. A-KR79 23v Ciacona de R. A-KR79 27v Courant de R. A-KR79 28r Sarabanda de R. A-KR79 28v Gavotte de R. A-KR79 28v Gigue de R. A-KR79 1r Courant de R.
A-KR79 1v Sarabanda de R. A-KR79 2r Aria de R. A-KR79 2r Gigue de R. A-KR79 6v Courant de R. A-KR79 7r Sarabanda de R. A-KR79 7v Aria de R. A-KR79 7v Gigue de R. A-KR79 3r Courant de R. A-KR79 v Sarabanda de R. A-KR79 3v Ballet de R.
A-KR79 3v Gigue de R. A-KR79 13v Courant de R. A-KR79 14v Aria de R. A-KR79 14v Gigue de R. A-KR79 4v Courant de R. A-KR79 5r Sarabanda de R. A-KR79 5v Aria de R. A-KR79 5v Gigue de R. A-KR79 15v Courant de R. Lesage 13r 88 20 Passagalia de R. Anna Wiktoria Swoboda. Jean-Daniel Forget.
He was taught the lute by his father also Esaias and was regarded as a child prodigy. He was employed by noblemen in Silesia, Leipzig and finally in Berlin at the court of the Elector of Brandenburg. They contain a total of 28 suites, varying in number of movements from four to nine. Each suite is unified by a major or minor tonality. They all include the basic structure of later dance suites, allemande—courante—sarabande—gigue.
Neue Lauten-Früchte, Berlin 1676