Buried treasure

Lutenist Elizabeth Kenny introduces three recordings from her own collection

Chant byzantin Sister Marie Keyrouz

Harmonia Mundi Gold HMG 501315

What’s so wonderful about this is that it’s completely pared down and very uncompromising. It’s all from the Greek, Lebanese and Christian Orthodox churches, so she does the ‘Hallelujah’ in three different languages – Arabic, Greek and a sort of Latin. The emotion of it is overwhelming, but incredibly controlled; she’s doing microtones and quarter tones, and stylistically it’s incredibly focused. It’s just extraordinarily passionate singing.

Weiss The Dresden Manuscript

Robert Barto, Karl-ernst Schröder (lutes) Pan Classics PC10238

Weiss is quite well known, but mostly to guitarists. The duets are sort of lost, though there are references to them; a lot of reconstruction was done. This was an incredible pairing: Robert Barto’s playing is deeply eloquent and has a level of detail you might expect from a violinist. Karl-ernst Schröder died three or four years after this came out. I don’t think I’ve ever heard another lute record where everything has got a major key! It’s completely extrovert and joyful.

Sonatas for Lute and Harpsichord Julian Bream (lute), George Malcolm (harpsichord) Sony G010002996125C

This is where I first heard Bach’s organ trio sonatas when I was a teenager, and I’m ashamed to say that when I actually heard them on the organ I was a bit disappointed! The harpsichord sound might come across a bit old-fashioned today, but the phrasing, rhythm and articulation is so detailed. Their groove together is extraordinary and has a real energy – particularly in the outer movements. Julian did so much to bring early music out in front of people and say ‘look, this is just great music’. Kenny’s new theorbo album on Linn Records is reviewed on p98