Suite in C major by Esias Reusner
The opening of the Allemanda is a sweeping gesture, a six-note ornamented chord, plucked using the technique of "raking play", followed by a filligree of successive seventh chords and suspensions which seem to contradict the opening statement. This is a typical Reusner juxtaposition, in which pauses and forward-moving propositions are heard in equal parts. No two bars have the same rhythm. The Couranta uses almost the same material, cunningly set in a different metre, tempo and thinner texture. The galant Gavotte, which one might suppose would be of decidedly worldly character, is instead more like a Lutheran hymn tune, but animated by dance rhythm. The Gigue uses fugal entries descending from the upper register, but then breaks into typical broken-chord figures which mimic the style of Froberger. The whole suite is textbook of virtuoso lute techniques of the period, with a variety of treatments, texture and ornamentation, yet highly unified by underlying material that marks Reusner as a master of the art of lute composition.
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