Crossover Lute

tag:blogger.com,1999:blog-15451564.post-4310849526965394272008-03-09T10:34:00.001-07:002008-03-09T11:18:37.754-07:00Crossover Lute<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp0.blogger.com/_Bv0M7bhFxeM/R9Qf57m7ZLI/AAAAAAAABT8/28uE1jYCU-8/s1600-h/indigo_road.jpg"><img style="margin: 0pt 0pt 10px 10px; float: right; cursor: pointer;" src="http://bp0.blogger.com/_Bv0M7bhFxeM/R9Qf57m7ZLI/AAAAAAAABT8/28uE1jYCU-8/s400/indigo_road.jpg" alt="" id="BLOGGER_PHOTO_ID_5175796951869514930" border="0" /></a>The lute may have been the queen of instruments in centuries past, but it is a fringe instrument today with a cultist following. Difficulties in attracting audiences are worsened by fragmentation between the cults: acolytes of the renaissance lute view the baroque lute as a completely separate instrument, and vice versa. Lutenist Ronn McFarlane has made a bold move in recording a "crossover" program of his own compositions: new music on a renaissance-style lute. McFarlane is perhaps best known for his exquisite specialization in the Scottish lute literature. He is a true virtuoso, a wonderful teacher, and I have been told one hell of a nice guy. I cringe every time I recall a first-hand story of him sharing a program with a guitarist in the middle of nowhere; by his half of the program the tiny audience was quickly dissipating. The life of the lutenist is hard. McFarlane's own compositions sound like real virtuoso stuff, pushing the technique of the lute to the point that it sounds like ... a guitar. The closely placed microphone on the instrument makes this even worse; had I heard this recording without knowing what it was, I would have guessed it was a funny sounding guitar. There is absolutely nothing to the sound or music that suggests "lute." This is not to say that it is either a bad sound or bad music, but the instrument loses its identity on this recording. The music is a clever—sometimes catchy—pop-style with roots in bluegrass banjo and guitar finger-picking. This is not deep stuff, but it is often appealing, excellent background music. It is played with energy, sometimes too much, often sounding like a caricature of playing one hears with members of the Los Angeles Guitar Quartet: strong beat, strong attack, exaggerated inflections. This hyperactive playing pushes some of the tracks, such as Chocolate Factory, just short of the point of true annoyance. Most of the compositions are notable for their busy preponderance of notes: adding to the busy, sometimes frantic ambiance. One track, fittingly titled Dowland's Goodnight, settles down and provides a suitable ode to both Dowland and the historic instrument. All critical comments aside, I hope this recording achieves popular success, but that success would be with a very different audience than McFarlane normally performs to. It is a much better introduction to the lute than <a href="http://kemer.blogspot.com/2006/11/stung.html">Sting's Dowland album</a>. The recording was released by <a href="http://www.dorian.com/">Dorian</a>, which miraculously is emerging from the ashes of bankruptcy. A very fine label, their survival means that McFarlane's recordings of the Scottish Lute are once again available. They are not to be missed.Kemerhttp://www.blogger.com/profile/18037323811515780058noreply@blogger.com