‘…McCartney interprets with elegance and sensitivity. [He] adapts well to the varying characters of the pieces. The quality of the sound must be atributed to McCartney’s excellent playing and recording skills.’ Fiona Thistle, LSA

‘Kapsberger has found a worthy and accomplished ambassador in Glasgow-based lutenist and luthier Alex McCartney… McCartney establishes his technical credentials with an impressive range of intricate flourishes… Equally noteworthy is the vivid sound capture achieved in Glasgow Cathedral […] total clarity is achieved and maintained… The prevailing mood is one of concise and upbeat exploration of musical ideas.’ Paul Fowles, UK Lute News

‘A sublime recital of works by G G Kapsberger (c1580 – 1651). Although complex music this is a very relaxing listening experience as Alex McCartney breathes life into this ancient and mostly forgotten music. A lovely production.’ Lark Reviews

‘This recording is clearly something of a labour of love… Alex McCartney plays with musical conviction, taking even the tiniest little musical morsel seriously.’ Andrew Benson-Wilson, Early Music Reviews

‘With the rich, deep tones of the theorbo, and some rippling and cascading runs, deftly articulated here by McCartney, this is a delightful programme. Another enjoyable disc – notably recorded and produced by McCartney himself on his on micro record label.’ Nick Boston, Classical Notes
Giovanni Girolamo Kapsberger’s (c.1580-1651) works for theorbo are virtuosic, exploratory and peculiar: his baffling and brilliant use of rhythm (at a time when most other virtuoso players were pounding the semi-quavers) stewed with his surprisingly-odd chromatic harmony lends his music an obscure and surprising quality. As a result of his unconventional style his direct musical influences are ephemeral. He spent most of his life working in the same household (Cardinal Barberini’s: the nephew of Pope Urban VIII) in Rome as Girolamo Frescobaldi; inevitably close during their presumed co-development of the toccata form: – ‘toccata’ translates as ‘touched’ – but otherwise much of K’s life and music eludes us. By the 1610s the toccata was a fantasy form born out of sixteenth-century preambulatory forms such as the prelude, ricercar and ‘tastar de corde’ (to tune the strings): juxtaposed sections of blindingly florid passages and fugal polyphony are abruptly joined in a theatrical improvisatory style.
This album focuses primarily on Kapsberger’s preludes and toccatas with only a few dance movements (gagliarda, corrente etc.) thrown in for their notable and enjoyable peculiarities. All the pieces recorded are from Kapsberger’s 3rd (1626) and 4th (1640) books for theorbo. Kapsberger’s 2nd book of theorbo (chitarrone) music still remains to be found.

‘[Kapsberger] with his superb genius and other scientific skills in which he was expert, successfully penetrated the secrets of music.’
Anathasius Kircher: Musurgia Universalis (1650)


The CD costs £12 + P&P (If you want a HQ digital download click on the link above to purchase via bandcamp)

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‘Many of these pieces have considerable difficulties which McCartney does not shirk. His playing is precise, thoughtful and always in control. One particular strength is the care with which he articulates fast divisions, which can sound a little scrappy in other hands….[McCartney’s] complex flourishes and divisions are sensitively and cleanly played.’
John Reeve, The Lute (UK Lute Society)

‘This is a highly enjoyable disc, warmly recorded and expertly performed throughout.’
Nick Boston, Classical Notes

“A meditative disc that reflects
English melancholy… sublime and perfect.”

“[A]n enchanting collection of fine performances of lute repertoire from a number of composers from the time of the court of Elizabeth I. Very enjoyable.”
Lark Reviews

“According to the programme notes, these pieces are notoriously tricky to play, although I wouldn’t have noticed that from Alex McCartney’s assured performance here. … Alex McCartney’s playing is sensitive and musical, and the recording picks up the sound of the lute very well.”
Andrew Benson-Wilson, Early Music Reviews


The CD costs £10 + P&P (If you want a HQ digital download click on the link above to purchase via bandcamp)

To order your copy click the button below or send me an email (, I will then send you a payment request via paypal.

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“I have greatly enjoyed Alex McCartney’s playing of these suites, with his lightness of touch in the faster movements, and sustained grace in the Sarabandes and Chaconne.”
Margaret Rees, The Consort

“McCartney’s interpretation of this reflective music is stylish and sublime.”
Kate Benessa, LSA

“This is sublime music, played with such feeling by Alex McCartney, a busy soloist and accompanist, who also directs the ensemble, Poeticall Musicke, and makes lutes. We are fortunate to be able to listen to this re-discovered music performed with such care.”
Stephen Page, Lark Reviews

“[McCartney’s] phrasing (an essential part of this ‘tricky’ French lute style) is admirably musical and the playing fluent and easily flowing.”
Martyn Hodgson, Lute News

“… the CD is a real pleasure to listen to and Alex McCartney shows he is a very good lutenist which one has a desire to hear more from.” Jean-Luc Bresson, SFL (Translated from the French)

“The playing is sensitive and musical…” Andrew Benson-Wilson, Early Music Reviews

“Using three suites Alex McCartney gives us a good impression of the refined art of the master.” Pizzicato (Translated from the German)


A deserved recipient of European fame and success, René Mésangeau (fl. 1567-1638) was popular amongst contemporaries, receiving recognition by both Pierre Ballard in 1631 and 1638 and Marin Mersenne in 1636 (Harmonie Universelle). Robert Ballard also regarded Mésangeau very highly, placing him in the ‘First Rank’ of lute composers. Mésangeau’s innovative experimentation with lute tuning systems eventually led to the development of the ‘standard Baroque lute tuning’, centered around a d-minor chord.

Mésangeau was born in Paris in the last quarter of the sixteenth century. During his time in Germany (presumably pre-1617) it is likely he met Besard, who included a courante by Mésangeau in his Novus Partus published in 1617. Returning to Paris he gained a position in the service of Louis XIII with the title écuyer sui ordinarement la cour. His deliberately new style must have made a striking impression. By 1621 he had been elevated to the position of musicien ordinaire du Roi. At some point during this period of success Mésangeau married Marguerite Jacquet, the daughter of the famous spinet maker Jean Jacquet.

Mésangeau’s popularity was summarised at his death by his pupil Ennemond Gaultier who composed the first known tombeau in his honour (Le tombeau de Mézangeau, 1638).

AlexM (11 of 28)


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