16h century lute works with Paul O’Dette (Wigmore Hall, 26 March 2018)
About 15 or so years ago I went through a phase of “getting some (high) culture” which only bore a few (rather timid) fruits. You can argue that a 25 year old can only absorb so much out of the multitude of experiences the world has on offer. In any case, it was during that effervescent period when I became aware of Paul O’Dette. Earlier this week I finally made it to one of his shows, in a renewed effort of expanding my horisons beyond vocal classical music.
Paul O’Dette lute
Marco Dall’Aquila (c.1480-1538)
Ricercar No. 18
Saltarello ‘La Traditora’ No. 2
Ricercar No. 26
Nous bergiers (Janequin)
La Battaglia (Janequin) O’Dette replaced it on account of the lute’s lack of cooperation; the lute declined to comment
Ricercar No. 6
Il est bel e bon (Passereau)
Ricercar No. 19
Cara Cossa No. 10
Alberto da Ripa da Mantova (c.1500-1551)
O Passi Sparsi (Festa)
Fantasie IX ‘Faulte d’argente’
Or vien ça vien mamie Perrette (Janequin)
Francesco da Milano (1497-1543)
Fantasia No. 28
Fantasia No. 8
Fantasia No. 3
Fantasia No. 38
Fantasia No. 64
Fantasia No. 33
Fantasia No. 34
Fantasia (App. 31)
Vignon vignetta (Claudin de Sermisy)
O bone Jesu (Antonio de Ribera)
Tu discois que je mourroye (Claudin de Sermisy)
Though I was extremely tired on account of
time change having woken up at a truly ungodly hour, gone to the airport and came back etc. and somehow managed to snatch a nap before the show, I was quite impressed that I did not flag at all. Two men, one young, one old, were sawing away two rows behind me.
I can’t claim to have known about any of these composers, so it was good that O’Dette provided a bit of introduction, presenting them as the best of the best of their time period, each having developed their own style. What I was able to get was the complexity of the music, which I hadn’t hitherto suspected. I enjoyed O’Dette’s lively work with dynamics, and general range of expression with an instrument that seems rather limited, especially having managed to upgrade to row H for the first half and then to second row after the interval, courtesy of Baroque Bird.
So though I’m very low on comments this time, due to lacking anything to compare his fine work against, it was a lovely performance and O’Dette very personable in his slighly self deprecating way. Don’t miss him (and his stubborn lute) if he comes to your neck of the woods (I’ll just assume your tolerance for Early Music is high to very high if you’re reading this).