Works by the composer/lutenist Daniel Bacheler (1752- 1619) have been included on many CD and LP recordings over the years, though this is the first time a recital has been devoted exclusively to him. In this program titled “The Bachelar’s Delight” lutenist extraordinaire Paul O’Dette performs 26 selections (more than half of Bacheler’s extant solo lute oeuvre) that attests to this very high regard the composer held on his contemporaries and continues to hold on lutenists and enthusiasts of the instrument alike to this day. Given the imaginative and inordinately complex challenging passages in many of these selections, Bacheler apparently was a consummate musician; though unlike the majority of his peers during these final years of this Golden Age of English lute music, Bacheler transcended his English contrapuntal roots when in mid career he became interested in French performance practice. The results are, to say the least, extraordinary.
Take for instance Mounsieurs Almaine, one of Bacheler’s most popular works (O’Dette has previously recorded the piece for Nonesuch on a program titled Robin is to the Greenwood Gone), which O’Dette confesses in the notes initially sparked his interest in the lute when he heard Julian Bream’s recording of it 35 years ago. The piece begins unassumingly enough, thematically simple and tunefully charming typical of Elizabethan fare. After a couple of minutes though Bacheler in a most extravagant French manner begins ornamenting the structure of the piece, introducing a plethora of widely diverse and at times quite disparate variations on the theme. O’Dette deftly negotiates these incredibly difficult passages with breathtaking precision and clarity; and while his overall timing here is within only seconds of his earlier effort, his articulation is noticeably more stylish and spontaneous sounding.
Other highlights include Bacheler’s single Fantasia with its varied palette of lower string sonorities combined with often dazzling virtuoso passages in the higher registers. What arguably may have been one of Bacheler’s most popular pieces during his lifetime (it appears in no less than 9 surviving contemporary manuscripts- more than any other of his works, as well as went on to become his only song when in 1610 Robert Devereux, the Earl of Essex added lyrics) A Gallyard (sic) subtitled “To Plead my faith” is also a charmer with it’s instantly infectious melody and the often humorous ornamentation concluding many of the lines. Many early music fans as well will instantly recognize the melody of La Jeune Fillette, a piece Bacheler based on the famous French song, though few will be prepared for his deliciously witty, elastic deconstruction of it’s theme (Jordi Savall in his arrangement for the movie Tous les Matins du Monde for instance sounds absolutely conservative, if not tame in comparison).
Harmonia Mundi’s sonics are audiophile quality, fully capturing the acoustic presence of O’Dette’s instruments (both 8 and 10 course lutes are used) with remarkably convincing clarity and detail. Presentation as well is exemplary and O’Dette’s notes are informative and often very highly entertaining. In sum, O’Dette and all involved in this very important, long overdue project are to be commended not only for affording Bacheler his due, but simply as well offering what certainly is one of the most consistently rewarding, enjoyable lute recitals available in years. Highest recommendation.
