Among Respighi's many works, this piece is as popular as the "Roman Trilogy." It consists of 12 pieces in total, with four pieces each in Suites 1 to 3. Suite 3 was composed in 1931, during his later years. Although the title includes "for Lute," these are not original lute pieces but arrangements of lute compositions written around the 16th century for string orchestra and piano.    The "lute" is a small plucked string instrument used from the Middle Ages and Renaissance through the Baroque period. Until the Baroque era, it was highly valued not only as a solo instrument but also for accompanying songs and in ensembles, enjoying great popularity among both royalty and common people. However, with the end of the Baroque music era, the lute could not adapt to the new musical styles of the Classical period and was forgotten in the history of early music. In the late 19th century, early music research advanced through the efforts of musicologists such as Luigi Torchi and Oscar Chilesotti, and attention began to turn to the lute once again.  Respighi, who developed an interest in early music after studying music history under Luigi Torchi during his time at the Bologna Conservatory, reportedly enjoyed discovering early music scores buried in history within the conservatory's library while serving as a professor at the Santa Cecilia Conservatory in Rome. It was from the vast collection of the Santa Cecilia Conservatory that Respighi unearthed the lute collection compiled by Oscar Chilesotti, which became the original source for this work. This piece can be considered the crystallization of Respighi's insatiable curiosity for early music.  Respighi stated about this work that he "clothed the original pieces in orchestral garb, adding harmonies appropriate to their period and character, without losing their nobility and fragrance." Indeed, Respighi vividly revived the spirit of medieval and Renaissance lute music, shedding new light on a genre that had been forgotten from people's memories.

1. Italiana

Andante, 3/4 time. D major. The original piece is an anonymous dance written at the end of the 16th century. As the title "Italiana" suggests, the essence of medieval Italian music is fully evident. The left-hand accompaniment pattern is striking, imitating a lute accompaniment. In the string orchestra version, cello pizzicato takes on this part. With a nostalgic and melancholic melody that sounds familiar, it is the most famous piece in this collection.

2. Court Airs

The original pieces are from a lute collection published in 1603 by Jean-Baptiste Besard, a French lutenist active from the 16th to 17th centuries. Several arias are gathered into a single piece, each bearing original titles such as "It is sad to love you," "Farewell, shepherdess, forever," and "Lovely eyes that gaze clearly." The piece concludes with a repetition of the opening aria, aiming for overall unity.

3. Siciliana

Andante, 3/4 time. B minor. The original piece is an anonymous work from the late 16th century. "Siciliana" refers to a dance originating from the island of Sicily in southern Italy, frequently performed from the late Renaissance to the early Baroque period. It is a piece in 6/8 time, characterized by a melancholic and lyrical melody and dotted rhythms. Overall, it is written in variation form, and its somewhat sorrowful yet elegant melody possesses an unforgettable charm once heard.

4. Passacaglia

Maestoso, 3/4 time. G minor. The original piece is one of nine suites contained in "Capriccio for Spanish Guitar," published in Palermo in 1692 by the Italian guitarist Lodovico Roncalli. "Passacaglia" is a Spanish word meaning "to walk through the street," but it refers to a triple-meter dance that was popular throughout Europe, including Italy and Spain, in the 16th and 17th centuries. It is often used at the end of a suite, making it a fitting piece to conclude this collection.