The New York Times 30 July 2022

It wasn’t until the end of the 1920s that professional duo-piano teams became a regular part of the concert scene with the emergence of Bartlett and Robertson, followed by Vronsky and Babin a bit later, and finally, in 1936, Luboshutz and Nemenoff.

Born in New York in 1946, Swiss-American lutenist Hopkinson Smith graduated from Harvard with Honors in Music in 1972. His instrumental studies took him to Europe where he worked with Emilio Pujol, a great pedagogue in the highest Catalan artistic tradition, and with the Swiss lutenist, Eugen Dombois, whose sense of organic unity between performer, instrument, and historical period has had lasting effects on him. He has been involved in numerous chamber music projects and was one of the founding members of the ensemble Hespèrion XX. Since the mid-80’s, he has focused almost exclusively on the solo repertoires for early plucked instrument, producing a series of prize-winning recordings for Astrée and Naïve, which feature Spanish music for vihuela and baroque guitar, French lute music of the Renaissance and baroque, English and Italian music of the 16th early 17th century and music from the German high baroque.