The works featured on this new album are by German composer Esaias Reusner (1636-1679). Reusner was a child prodigy who traveled and performed at courts across Europe with his lutenist father, Esaias senior. Reusner released two collections of lute suites, “Deliciae testudinis,” and “Neue Lauten-fruchte.” These pieces are taken from the latter. These pieces are performed by world-renowned Japanese lutenist, Toyohiko Satoh. Satoh gave his first public recital in Tokyo in 1965, and moved to Europe shortly after. He studied lute with Eugen Muller-Dombois at the Schola Cantorum Basiliensis in Switzerland.

REUSNER Delitiæ Testudinis, Vol. 1 • Paul Beier (lt) • STRADIVARIUS 33867 (78:47)


Esaias Reusner (1636–79) was taught the lute by his father, became familiar with the published music of such modern masters as Francois Dufault and Ennemond Gaultier, then was influenced by and studied under an unknown lutenist while a valet at the Polish court of Princess Radziwi??. He published two collections of lute suites in the then very popular French style that were very successful, and soon had a pronounced effect on other, similar compositions in the German States. His pieces—naturally contrapuntal, rich in passing dissonances, and prone to the expressive extremes then popular in this kind of intimate music-making—are uniformly attractive. The pavanes and sarabandes in particular revel in an eloquently lyrical melancholy.


Beier’s technique is good, but not perfect. The occasional glanced note—different in dynamics, resonance, and duration from all others around it—interferes with the musical line and his musical insight. Once you get past this, it’s easy to appreciate the fine degree of shading in the Couranta of the Suite No. 4, and the general warmth of tone, but the playing isn’t immaculate. These are stylistically strong performances by a fine lutenist, with the caveat that wrong notes do mar the surface.


The lute on this album is closely miked, but with a pleasantly dry ambiance that keeps textures clean and allows the instrument to sound for itself without any unneeded help from the environment. Beier’s own liner notes are excellent in discussing the influences at work on Reusner, and the disc is an unusually full one. Perhaps best of all, this is only Volume 1—meaning we can look forward to more of the Delitiæ Testudinis in the future. Barring slips of the fingers, this one’s definitely recommended.


FANFARE: Barry Brenesal

The ensemble Hamburger Ratsmusik, under the direction of Simone Eckert has recorded five songs from Luther for Advent and Christmas. These pieces have been arranged by various composers from the Reformation era and they captivate through their diversity in different instrumental and vocal combinations. Vom Himmel hoch is one of the most famous songs by Martin Luther and is still sung today at Christmas time.

Julian Bream, who passed away in August 2020, is the finest classical guitarist in the second half of the 20th century. DOREMi is proud to release this tribute to his wonderful artistry. The program of works for lute and guitar solo and in a variety of ensemble settings, never before released, offers a remarkable panorama of Bream's magnificent playing between 1956 and 1965, including performances from the 11th, 16th, 17th, and 18th Aldeburgh Festivals, the 18th Edinburgh International Festival, a 1956 Broadcast House recital, and two studio broadcasts. The repertoire ranges from Josquin des Pres to Dowland and other Elizabethans, to Baroque lutenists, and contemporary British composers. We hear a very early version of Britten's "Nocturnal", songs accompanying Peter Pears and Carmen Prietto, a Haydn string quartet, and the Concierto de Aranjuez.