The local music school invited me to play during a recital. Children and teens playing, me the only adult. I'm not even a student (will always be, of course, but that's another matter). I was invited because the lute belongs to the offers of the music school, yet no student was currently prepared to play. So it was me again >8)
The organizer informed me that there would be a harp. I suggested we could do a couple of lute duets together. I have transcribed duets for renaissance lutes as well as for baroque lutes into staff notation, done for another occasion. She said time was too short for proper preparation, but we could try them in autumn. So we will. I'm grateful to
shrike_15 for the experience that harps of lute-size are likewise still instruments.
I seriously suffered from stage-fright in advance, but onstage it was fun. I had been requested to tell the audience a bit about the lute. So I moved close to the first row, explaining that the lute comes from a time when chamber instruments were not expected to sound in huge opera houses. Added bits of history.
At the end, when I had finally placed the sheets on the stand and put the stool right, I finally had to tune the lute a bit. Couldn't resist the old joke, "you know what they said? They said, a lute player of 80 years of age has certainly spent 60 years tuning the instrument." Their laughter told me they were entirely new to the lute, otherwise they would have heard it before.
I must admit, I pretty much enjoyed myself, playing most movements of an F major suite by Weiss.
"Now, almost at the end of my part, I shall present you something completely different. It's some 50 years earlier than Weiss, and it's French." Which was Gaultier's Belle Homicide with double by Mouton and another courante by Mouton. I do not pretend I didn't make mistakes (I always do when I'm nervous), but I received the impression that the audience enjoyed it as much as I did.
Now I'm looking forward to a vernissage (on Thursday) of a friend of mine,
Joachim Domning. He is a painter, lute player, and editor of manuscripts in facsimile containing Franconian baroque and rococo music for the lute. Of course, I shall play from his editions. One suite by Kühnel (otherwise known as viol composer), two arias by Kleinknecht, several anonymous pieces, one of them probably by Steinmetz. Names long forgotten, but their music still sounds sweet.