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Composer: Adam Falckenhagen (1697-1754)
Work: Concerto à Liuto obligato, No.4 Op.IV
Performers: Michаеl Dückеr (lute); Scаlа Köln

Concerto à Liuto obligato, No.4 Op.IV
1. Largo 0:00
2. Allegretto 6:24
3. Tempo di Polonese 9:57
4. Variazioni, poco allegro 12:40

Painting: Johann Georg Platzer (1704-1761) - The Pleasures of the Seasons; Spring (c.1730)
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Adam (Adamo) Falckenhagen [Falkenhagen]
(Grossdalzig, 26 April 1697 - Bayreuth, 6 October 1754)

German lutenist. He was the son of Johann Christian Falckenhagen, a schoolmaster. When he was ten he went to live for eight years with his uncle Johann Gottlob Erlmann, a pastor in Knauthain near Leipzig. There he underwent training ‘in literis et musicis’, particularly the harpsichord and, later, the lute. He then perfected his lute playing with Johann Jacob Graf in Merseburg, where in 1715 he is mentioned as a footman and musician in the service of the young Count Carl Heinrich von Dieskau. In the winter term of 1719 he entered Leipzig University; a year later he went to Weissenfels, where he remained for seven years as a lute teacher. From about 1724 he was also employed as a chamber musician and lutenist at the court of Duke Christian, where his presence is documented for 1726, together with that of his wife, the singer Johanna Aemilia. During this time he undertook various tours and enjoyed several months’ instruction from the famous lutenist Silvius Leopold Weiss in Dresden. After two years in Jena, he was in the service of Duke Ernst August of Saxony-Weimar from May 1729 to 15 August 1732. By 1734 he was employed at the Bayreuth court. In 1736 Margrave Friedrich appointed him ‘Virtuosissimo on the Lute and Chamber Musician Second to the Kapellmeister Johann Pfeiffer’. About 1746 he referred to himself as ‘Cammer-Secretarius Registrator’ of Brandenburg-Culmbach. Falckenhagen was one of the last important lute composers. Although some of his works are rooted in the Baroque tradition like those of his teacher, Weiss, they show a progressive tendency towards the galant style. His keyboard-influenced lute writing is freely contrapuntal and usually limited to two voices. His output ranges from modest pieces suitable for amateurs to others (e.g. the Sonata op.1 no.5 and the concertos) of much greater difficulty, exploiting virtuoso techniques. His Preludio nel quale sono contenuti tutti i tuoni musicali, lasting over 20 minutes in performance, contains labelled sections in the 24 major and minor keys. There may be a more direct connection with J.S. Bach in the strong possibility that the tablature version of the G minor Suite bwv995 was arranged by Falckenhagen himself. The ornament signs and other technical signs are the same as those used exclusively by Falckenhagen in his printed works and found in a manuscript table of signs associated with his Bayreuth period.

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