Album tip: Edin Karamazov - The Lute Is A Song (2009).
A single instrument becomes a chorus: whispering counterpoint, ringing open strings, and the human voice set close to the grain of the wood.
Why it lands
Karamazov plays like a storyteller. Lines breathe and answer each other; bass notes anchor while upper voices lean forward. The program moves across centuries without feeling grafted-because the thread is speech-like phrasing and a taste for text.
Standout pieces
- Purcell - “Dido’s Lament”: the ground bass tolls; the melody climbs and falls like breath.
- Dowland (song): poised melancholy; the lute matches syllables and sense.
- Handel - “O Lord, Whose Mercies Numberless”: devotional glow under the voice.
- Leo Brouwer - “Paisaje Cubano con Rumba”: modern rhythm, percussive color-proof the lute can dance.
Collaborations that add light
This isn’t just solo bravura. Sting brings close-mic storytelling, Renée Fleming shapes Purcell’s grief in long lines, and Andreas Scholl floats Handel with etched clarity. Each guest sits inside the lute’s resonance rather than on top of it.
The instrument, briefly
The lute predates the modern guitar: more courses (pairs of strings), gut timbre, quick decay. That fast fade is the magic-phrases must be placed and voiced, which is why good lute playing feels like speaking.
How to listen
- Quiet room, nearfield: small speakers or headphones let you hear nail vs. flesh, string release, and room bloom.
- Contrast pass: play Purcell → Brouwer → a Dowland song to hear centuries talk to each other.
- Text focus: on the vocal tracks, follow consonants-the lute often answers them.
Frequently Asked Questions
Q: Who is Edin Karamazov?
A: A Bosnian-born lutenist known for expressive, text-aware playing across Renaissance, Baroque, and contemporary works.
Q: What is The Lute Is A Song?
A: A 2009 album mixing solo lute with star vocal cameos-early music core, modern openness.
Q: Where should I start with The Lute Is A Song?
A: Purcell’s “Dido’s Lament” → Brouwer’s “Paisaje Cubano con Rumba” → the Sting feature-three facets: lament, rhythm, and intimacy.
Q: Is it historically informed?
A: Yes in spirit and technique, but it welcomes modern color and collaborators.
Q: Which tracks best show the lute’s range?
A: Purcell’s lament (sustain and sorrow), a Dowland song (word-painting), and Brouwer (percussive modernism).
Verdict
Old wood, new fire. If you think early music is museum glass, this record opens a window.
