Johann Sebastian Bach - Aufs Lautenwerck

Aufs Lautenwerk - Music By J.S.Bach 

Kim Heindel (lute-harpsichord)

Bach, the lute, and the lautenwerk (lute-harpsichord) have fascinated me for years. Upon investigating Bach's connection with the two instruments, one is immediately faced with the striking absence of one vital piece of evidence: though we know that many lautenwerks existed, none, to our knowledge, have survived into our time. The lautenwerk, the name by which it is usually known in German and English, was a harpsichord like instrument of one or two manuals with the same range as lute, but somewhat lower than the harpsichord. It was strung with gut rather than brass. - Nigel North, London, June 1994

Works on This Recording

1. Partita for Lute in E major, BWV 1006a by Johann Sebastian Bach 

Performer:  Kim Heindel (Lute-harpsichord) 

Written: after 1720; Germany 

 Date of Recording: 10/1993 

Venue:  Stonington, Connecticut 

Length: 19 Minutes 21 Secs. 

2. Fugue for Lute in G minor, BWV 1000 by Johann Sebastian Bach 

Performer:  Kim Heindel (Lute-harpsichord) 

Written: circa ?1725; Leipzig, Germany 

Date of Recording: 10/1993 

Venue:  Stonington, Connecticut 

Length: 6 Minutes 4 Secs. 

3. Partita for Lute in C minor, BWV 997 by Johann Sebastian Bach 

Performer:  Kim Heindel (Lute-harpsichord) 

Written: 1737-1741; Leipzig, Germany 

 Date of Recording: 10/1993 

Venue:  Stonington, Connecticut 

Length: 20 Minutes 56 Secs. 

4. Prelude, Fugue and Allegro for Lute in E flat major, BWV 998 by Johann Sebastian Bach 

Performer:  Kim Heindel (Lute-harpsichord) 

Written: circa 1740; Leipzig, Germany 

Date of Recording: 10/1993 

Venue:  Stonington, Connecticut 

Length: 12 Minutes 5 Secs. 

5.Suite for Lute in E minor, BWV 996 by Johann Sebastian Bach 

Performer:  Kim Heindel (Lute-harpsichord) 

Written: circa 1708-1717; Weimar, Germany 

Date of Recording: 10/1993 

Venue:  Stonington, Connecticut 

Length: 15 Minutes 36 Secs. 

About lautenwerck or lute-harpsichord

The lautenwerck or lute-harpsichord differs from the harpsichord in several important respects. While historical references indicate differing approaches to design, there is general agreement that whereas harpsichords are designed to be strung in metal, the use of gut strings is of primary importance in a lute-harpsichord. However simple replacement of metal strings with gut will not give satisfactory results.

Generally, a gut string requires a longer scale (or length at a given pitch) than a metal string, which in turn infers a larger instrument. Pitch for a given string length however, is a function, not only of length, but also of string material and tension. The lower pitched strings of the lute-harpsichord are thicker and under less tension - a technique known as "foreshortening". Thus lautenwercke are often smaller than their metal-strung relatives. Extreme foreshortening of the scale in comparison to the harpsichord, reduces the tension a lautenwerck must bear. Lighter construction is made possible, enabling a lautenwerck to better respond to the less energetic gut string. This is especially true of the soundboard, which can be half the thickness normally found in harpsichords.

Gut stringing has other implications for lautenwerck design. As gut strings have more internal friction than their metal counterparts, they generally have less sustain. This allows one to dispense with dampers to a large degree. Individual instruments will dictate where dampers are needed (and how effective they need be), but one rarely finds lautenwercke fitted with dampers on every string. Any resulting "over-ring" is likely to enhance the lute-like effect.

The lautenwerck also demands special attention concerning string layout. Thick gut strings vibrate more vigorously than thin metal ones at higher tension. This requires that more space be given between adjacent strings to avoid interference. This consideration encourages the builder to keep his design simple. Two choirs of gut strings seems to be the practical maximum, though a third choir strung in brass is sometimes found.

Harpsichords normally have one dedicated jack per string. Lautenwercke often have more than one jack independently serving the same string. Tonal variation is achieved by plucking the string at different points along its length. Dynamic and color variation can also be pursued by using plectra having different properties. This sort of elaboration is most often reserved for instruments having more than one manual. Adding more strings to achieve tonal interest is avoided, and resonate construction maintained.

Historical references indicate that in some lautenwercke the internal volume of the instrument was determined by a dome-like structure shaped much like the back of a lute, and indeed modern instruments have been made in which a "lute shell" defines the exterior shape of the instrument. Internal structures placed below the soundboard are also found. Other references however, make no mention of this feature and indicate the construction normally associated with keyboard instruments.

http://www.baroquemusic.org/barluthp.html

THANKS THE GENEROUS COLLABORATION FROM DAFFY FOR THIS POST!!!