"After the success of the complete works for lute by J. S. Bach, crowned by the recognition of international critics (Diapason d'Or, Choc de Classica, Excepcional Scherzo, Record Geijutsu, Eccezionale di Musica, Joker Absolu Crescendo), Evangelina offers a double album dedicated to the music of the greatest lutenist of all time: Sylvius Leopold Weiss. In his work, virtuosity and sumptuousness merge against the elegant and ethereal background of the gallant encounters and court dances of the 18th century. A new recording that restores the lute to its due and ancient glories." (Presto Music)
Aan de Rikkyo University in Tokyo studeerde Satoh muziekgeschiedenis bij Tatsuo Minagawa en gitaar bij Kazuhito Ohosawa. Hij gaf zijn eerste gitaarrecital in de Tokyo Bunka Kaikan concertzaal in 1965. Bij Rikkyo begon hij ook zijn luitstudie.In 1973 werd hij professor aan het Koninklijk Conservatorium in Den Haag , Nederland, een functie die hij tot 2004 bekleedde. Hij heeft ook tal van masterclasses gegeven in Italië (Accademia Musicale Chigiana in Siena), Duitsland, de VS, Canada en Japan. Als leraar van de barokke luit heeft hij gepleit voor het gebruik van darmsnaren zonder metalen toevoegingen, en voor historisch nauwkeurige uitvoeringstechnieken. Zijn boek uit 1987, "Method for the Baroque Lute" (München: Tree Editions) wordt veel gebruikt [2] Sinds 1981 is hij actief bezig met het componeren, uitvoeren en opnemen van zijn composities, waaronder twee cd's voor Channel Classics. In 2000 werd hij voorzitter van LGS-Japan (Lute & Early Guitar Society of Japan) en LGS-Europe.|
"The seven compositions commonly called works for lute by Johann Sebastian Bach, despite more than a century of studies, do not seem to want to completely reveal the mystery of their birth, of their real instrumental destination and of Bach’s decidedly abstract concept of the instrument, the lute, which in its latest evolution continued after almost three centuries of glory to attract the attention of the highest musical lineage. The mystery did not distance the interpreters from these compositions, which Bach did not collect in a single cycle, as he did for the works for solo violin and cello, and indeed it has made them perhaps more stimulating, especially if we consider that in the turn of seventy years the lute was destined to disappear from the music scene. (...)" (prestomusic.com)
"Hopkinson Smith makes such a good case for Bach's Sonatas and Partitas on the lute that his recording is arguably the best you can buy of these works - on any instrument. Bach's student Johann Friedrich Reichardt wrote that Bach often played the Sonatas and Partitas for solo violin on the clavichord, fleshing out their essentially skeletal textures, though if he ever wrote any of this down it has not survived. Hopkinson Smith is the supreme 'poet' of the lute, and it is without hesitation that I count this recording as, for me, the finest I have heard of these works, on any instrument. The natural resonances of the lute assist the continuity of the lines and the recording itself preserves them without turning them into 'sonic soup'. If you fail to share my experience the loss will be yours!" (gramophone.co.uk)
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