"....Giazotto—contrived by the author to seem to be by Albinoni—or perhaps to resemble the hackneyed and fascinating Adagio for Strings of Samuel Barber. Its compelling presence suggests one or the other, or perhaps still another composer of those obligatory works that get brought into play on ceremonial occasions of institutional mourning.
In accord with what happened with the celebrated piece of Giazotto, the clearly improbable provenance of which was deliberately hidden, we recall the original case of the north American composer of Ukrainian origin, Roman Turovsky-Savchuk. It is he who, in implicit disguise, is behind a long list of tombeaux written in baroque style with the highly baroque pseudonyms of an imaginary family of Bohemian lute players, the Sautscheks (Johann Geog, Johann Melchior, Johann Peter…) The works are disseminated on the internet, where they receive a passionate response for, among other things, their unquestionable musical quality. The body of work of this suggestive historical game includes a good number of pieces of fiction cleverly similar in their style. They are dedicated by the Sautscheks to deceased members of their own family,
to central European composers of the first rank (CPE Bach, JCF Bach, Locatelli, Tuma, Kraus, Wagenseil, Zelenka and—a nice touch — to Froberger) as well as to other relevant personalities of the cultured world of the eighteenth century (Goldoni, Lessing, Klopstock). But now Turovsky-Savchuk adds two more tombeaux, this time conceived for the viola da gamba and dedicated to Telemann and Forqueray. Let us finish by returning to all the strings.
To the cry of agony of the works of Penderecki, to the stream of tears of Barber, played on the baroque lute of Turovsky-Savchuk or, as well, on the arabic lute of Sánchez Verdú. They are equal if they are anything. They grasp at life as its sounds evaporate.
They grasp at the sound that dies, never to be reborn. One perceives the mythic lyre of Orpheus grieving for Euridice. And also the Seikilos epitaph, calling to Euterpe from the living world. But above all, one remembers the weeping strings of the guitar to which Lorca alludes, the tears which Estrella Morente evokes, wailing ceaselessly before the tomb of his artist father."
- Pablo de Pozo
Your music is kitsch garbage. I'm sorry, I just can't keep pretending to tolerate this postmodern nonsense.
You wouldn't have to send it out in spam messages if there were some actual substance to it.
I'm sorry I'm not sending you sugarcoated opinions that would be more tolerable to your juvenile compositional acumen. I have no part/any clue about your lute world drama. I'm a composer, not a role playing early music fetishist. Just stop sending me your music."
- George Katehis
en Sautscheck comme les grecs anciens croyaient en leurs Dieux."
- Gilbert Clauss
you! Very tasty! Way to go!",
Onwards!"- Michael Lorimer
pieces are extremely effective..."
"I don't care when it was written, it is better than anything
J.B.Hagen could ever produce!",
work done with conviction..."- Tim Crawford,
is absolutely First-Rate second-rate music!" Tim Burris
"Tombeau sur la Mort de LvB.- Ochen krasivaja muzyka!"
piuttosto belli i pezzi, e sono indistinguibili da quelli d'epoca
il che non e' poco."
tombeau di Müthel mi sembra decisamente uno dei tuoi meglio
riusciti come equilibrio, idea
musicale e armonia."
"Cari amici appassionati di liuto e di musica in generale, vi consiglio fortemente questo CD molto particolare.Contiene composizioni originali di Roman Turovsky, un poliedrico artista newyorkese di origini ucraine. Turovsky richiama con eleganza atmosfere della tradizione musicale ucraina e le rielabora con un occhio alla pratica e allo stile del liuto barocco per cui questa musica è nata. Il mix è sicuramente molto originale e direi forse unico. La malinconia
della musica ucraina si adatta perfettamente al suono intimo e delicato del liuto. Sono composizioni molto intense emotivamente, perfettamente rese dall'interpretazione ispirata di Christopher Wilke, talvolta sommessa e meditativa talaltra accessa e passionale ma sempre misurata e ineccepibile."
El CD es “DE TEMPORUM FINE POSTLUDIA”. Una frase en latín que quiza se pueda traducir como “postuludio del final de las estaciones” o “postludio del final del tiempo”. Tiene música original de Roman Turovsky interpretada en laúd barroco por Christopher Wilke. Turovsky es un artista polifacético porque fundamentalmente se lo conoce como artista plástico. Pero también es bien conocido en el ámbito del laúd barroco. Nació en Ucrania y su familia se trasladó a Nueva York cuando Roman tenía 16 años. Mas tarde estudio laúd con Pat O’Brien. A comienzo de este siglo empezó a circular música como un gran descubrimiento musicológico de un compositor
olvidado del barroco, música de Johann Joachim Sautscheck. Como alguien que la ha tocado, puedo decir que muy bien escrita, muy idiomático y linda música para tocar y escuchar… Después apareció mas música de la familia Sautscheck….. y eso empezó a ser sospechoso y muchos nos preguntabamos como podía ser posible que nunca nadie hubiese escuchado de los Sautscheck y no apareciera su nombre en ningún lado… Hasta que con el tiempo se descubrió que el “Sr. Sautscheck” no era otro que el mismo Roman Turovsky…. Este disco tiene un dejo de nostalgia y combinación de estilos. Está básicamente compuesta con motivos folkloricos de su Ukrania natal, pero en una mezcla de por momentos estilo barroco y por momentos de estilo rococó… y por momentos de los dos… La mayoría de las obras son temas con variaciones. Muy bien interpretado por Christopher Wilke, es una delicia para el que lo escuche. Muy recomendable…
for the beautiful music!" -Jakob Ruppel,
worte, ...the work in itself which is
of a beautiful transparency"
Tombeau-Zelenka2, it is sincerely a piece I can't help but listening
over and over." - Phillippe Deiss,
danach spielt Thomas Schall ein Tombeau. Das ist Trauermusik.
Ironie ist auch im Advent was Schönes. Die Musik klingt
wie auf die
Laute zugeschnitten. In der Tat hat ein [zeitgenössischer]
Komponist, Joachim Peter Sautscheck, das Trauerlied über
Vater geschrieben. Ergreifend, da tut sich beim Zuhören
Abgrund auf, wie eine offene Grabstätte. " - Frankfurter
Tombeau, das ich gespielt habe, ist sehr gut angekommen. Im
Presseartikel wird recht ausführlich darauf eingegangen
Publikum war beigeistert." - Thomas Schall
talento questo Sautschek!!." -Pier Luigi Cimma
. . music is neither old nor modern: it is either good or bad
music, and the
date at which it was written has no significance whatever. Dates
and periods are
of interest only to the student of musical history. . . . All
old music was
modern once, and much more of the music of yesterday already
old-fashioned than works which were written three centuries ago.
All good music,
whatever its date, is ageless -- as alive and significant today
as it was when
it was written . . ." - Peter Warlock
there is a bit
of drollery attached to it, and that is nice, but the quality
of the music
is very high. Especially your last works, or I mean the pieces
send to me. Many of the old Lutecomposers could not reach that
So, I have spoken!"
daily Lute exercises are almost completeley devoted to Sautscheck!
"About your music, I think that is really good. You have
reached the top
ranks of Lute composers. Very beautiful."
Mr. Sautscheck is the best what happenend to the
Lute community for more than 200 years. - Hans Kockelmans
even Hagen's works which seem full of subtleties when viewed
against Falkenhagen's dull music
are miles away from this [Sautschecks']
music and can by no means compete with it." -Bernhard Hoffstötter
Lynda also played one of your pieces on her new 13 course lute
and I was most impressed. I can't remember the proper title but
was something about remembrance of Miserere. Very nice indeed.
only give-away was that it was somehow too easy to listen to,
dissonances and turns of harmony were all in period but the aesthetic
of the piece as a whole seemed to fit a more modern ear. But
I liked it a lot and would happily hear it in a concert."
-David Van Edwards
Torbanistica opens a new horizon" - Jiri Arnet,
nice music!" -Ekkehard Schulze-Kurz,
sempre piu' bachiano (il che e' un bel compliento)..." -Davide
been reading the Sonatas I & II; my favourite
one is -with great difference- the Sonata II (Allegro Risoluto). This
sonata has something!!!" -Eduard Agullo'-Serralta
Thank's for these files .
but Alain send me the terrible revelation that you
are a great artist .
You are surely the last surrealist." -Richard Civiol
new is the use of
classic hamonies and in this combination the music of JPS is
I like sonatas 1, 3 and 8 best. Really good baroque-lute music
beside SLW!!!" -Martin Junge
Sautscheck music had me
reaching for my 13course at 1am..." -Lynda Sayce
Le doy las gracias por la gran labor que esta haciendo.
Un fuerte abrazo." -José Miguel Moreno
beautiful! Thank you! Isn't it funny that sometimes it is
much easier to understand your music than your words..."
trovato nuove opere degli Scrofettini liutisti?" -Pietro
listened to your compositions last night at Luca's concert. Nice
music.... the public liked them very much and the applause was
really warm; so you should
be happy." -Mara Galassi
enjoying reading through the pieces, the style is one I'm not
used to and some of the pieces are really lovely." -Nigel
pieces are delighting me ! I play and play it again. A big thank
you!" Jean-Daniel Forget
che mi pare di aver capito, riguarda la contestazione circa i
falsi di Torowski: non posso
che dire che esiste qualcuno che
il senso del ridicolo non lo ha messo sotto le scarpe!"-
these pieces are exactly what I feel..."- Rudolf Merinsky,
are beautiful to play, but fairly sad"- Marcus Lutz,
is not a "little joke". It is a major vehicle for the
dissemination of bad music which otherwise
would not get a moment's
notice from anyone with a half baked sense of musical aesthetics.
I don't think it is funny at all."
"Verkakte Musik. Ty durak,
i shutki tvoi duratskiye"- Matanya Ophee
If we know for certain that this is a fictitious name, this name should certainly not be featured on the backside of a CD cover
(moreover in its full fake glory Gotthold Ephraim Sautscheck!). Moreover the real composer (or imposter if you prefer) should
be actually revealed and, furthermore, since from what I have understood this person is probably still alive and kicking,
he should certainly not be presented in a Baroque music CD! I am sorry to say that this is really a pathetic and ridiculous story,
harming you otherwise excellent CD. Thanking you, once again, for your kind cooperation, I remain,
Mit freundlichen Grüßen, - Tassos Dimitriadis
am very impressed!"- Johannes Vogt,
good to know that the Sautscheck family is at last getting the
recognition they deserve."- Andy Green,
gemueth is ergoetzt...."- Klaus Heim,
in love with the pieces on the spot..."- Richard Stone,
[TOMBEAU-JPS] is a meditative and inspired composition..."-
Tombeau]...beautiful as ever"
The way I consider it, most of the dearer of Sautscheks'
works _are_ tombeaux, actually. "- Mathias Røsel,
....blatant deceit" -Douglas Alton Smith,
Ms really is a goldmine!"- Jean-Francois Christoflour,
ET CEPERUNT is beautiful!"- Christian Farine,
interesting tabulature!"- Andrea Schiavo,
tabulature..."- Jan Grueter,
music..."- Peter Croton,
nice stuff, but where does it come from?..."- Phil Rukavina,
stuff, I must say..."- Joseph Mayes,
am anxious to dig into this..."- Steve Barrie,
mal..."- Alain Veylit,
am very attracted to this music."- Terrel Stone,
job indeed..."- Oleg Timofeyev, USA
it enormously!"- Clive Titmuss
of its time..."- Patrick O'Brien