Yes, Mr. Bengsten, puts all the names you give to route on this piece. In fact, I would submit to you that Mr. Bengsten is the better at the rarified Renaissance Italian contrapuntal than anyone else, OR if you do not like comparisons, let me say it is as good as it can be, here. Most play this musick solely by the fingers for the brain, without any soul or heart in mind.

And, yes, Mr. King, there is rubato, everywhere here, and, no, it ain't subtle. In fact, if you play this, or any pre-20th century musick without 'rubato' then you play it cold, inhumane, and sterile, which, though it may please your professors, will be ignored by everyone else, as who wants to listen to just a succession of accurate notes with nice tone?

I used an AKG C214

@@TrondBengtson Thank you!

Thank you for your kind words. I love this lute by Christopher Doddridge. I know it is the wrong choise for this music but it was all I had at that moment. It was my first lute and it still sounds beautiful.

You are so very welcome, Sir. Why do you think this lute the wrong choice?

@@beasheerhan4482 It has to do with what you mentioned, a six course is more intimate and it also have octave stringing from the fourth course which will give the music another character. But you can of course use any seize of lutes, most important is how you interpret the music.

Thank you for your answer, Sir. I agree with that, though, i would add, this musick does sound absolutely superb on your ten course, not the least of which this instrument maker did a fantastick job at getting a kind of evanescent glassy, and wintry fragility in the sound. The chanterelle of the lute you use here shines like a diamond in the eye and I positively love it! Moreover, your relationship to this lute is much strong and better than to you 11 course. I think you are more a Renaissance player than Baroque, too.