Weiss und Hoffmann - Musik für Laute und Barockmandoline

Naxos, 2007

Duo Ahlert & Schwab Naxos website

Silvius Leopold Weiss
-Sonata No.20, d-minor
-Sonata No.14, g-minor

Johann Hoffmann
-Sonata G-major
-Sonata d-minor

Having done several recordings of romantic and contemporary music we now present our first recording of baroque music. Together with the well-known label Naxos we have decided to record sonatas by Weiss and Hoffmann, the two most important musicians on their instruments in their time.

Silvius Leopold Weiss and Johann Hoffmann were at their living times known as the greatest virtuosos on their instruments. After Weiss the lute was being replaced by guitar, and after Hoffmann the kind of mandolin he used vanished. So, their music represents a zenith of lute and mandolin repertoires and has in this form been recorded for the first time.

We play copies of historical instruments. The six-course mandolin is a copy of an Ambrogio Maraffi original from about 1730 by Sebastian Nunez (Netherlands). The sonatas by Weiss are played on a 13-course baroque-lute (Martin Hoffmann), also by Sebastian Nunez. For the music by Hoffmann Birgit Schwab uses an archlute (Vendelio Venere) by Gerhard Soehne, Munich.

This CD was supported by the "GWK" and published by "Naxos".

Hörproben bei Naxos


By the time Sylvius Leopold Weiss died in 1750 at the age of sixty-three he had assembled the most extensive catalogue of lute music attributed to one composer, and numbered more than six hundred scores. He was born in Breslau and formed part of a family of lutenists, of which he became the most famous, his payment for playing as a court musician in Dresden said to be the highest in Germany. Many of his composition were in the form of Sonatas, also described as Suites (or Serenatas), and were originally for his own performance. Each contained dance movements - such as the Minuet and Gavotte - the combined work usually of substantial length and varied in mood. Mixing French elegance with the brilliant sounds he had heard and absorbed during his years in Italy, they were to extend the general technique requited by lutenists of the period. Many only exist as solos, but detailed research into the scores has suggested they might have been accompanied. That maybe totally inaccurate, but the present disc takes the liberty of using a lute and mandolin duo, the results from the German duo both pleasing and with a happy approach to the dance idiom. By contrast little is known of the life of Johann Hoffmann who came in the generation following Weiss. He was obviously a mandolin player, all of his surviving music involving the instrument with the two sonatas here recorded requiring a 'bass' accompaniment probably intended for the cello. That part is taken by the archlute and is mostly called upon to play simple chords while the mandolin performs feats of dexterity. Good to make Hoffmann's acquaintance though his music seems more busy than inspired. The recording is tight on the instruments without much air around. For a sample try track 12, the finale to Weiss's thirteenth sonata..
David's Review Corner, March 2007



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