El primero de ellos conservo la afinacion de las primeras seis cuerdas como las del laud renacentista y se le anadieron siete mas descendentes y el segundo quedo con catorce cuerdas simples, ambos instrumentos fueron utilizados indistintamente en esa epoca, al punto que no se tiene claro si cuando la partitura indica Tiorba, se refiere a Chitarrone
o viceversa, lo que es claro es que ambos se usaron para el acompanamiento de la voz primeramente y luego para acompanar a cualquier grupo de instrumentos desde finales del siglo XVI hasta finales del siglo XVII.
He has introduced Scottish lute music to a wider audience, demonstrated the beauty of the Italian repertoire for the chitarrone
(bass lute) and has recorded chamber pieces by Vivaldi, Haydn and Boccherini on period instruments.
Everything in this extravagance of riches flowed seamlessly, musicians altering their stage-positions between offerings to improvised voluntaries on chamber-organ and chitarrone
As well as being an internationally celebrated performer on the chitarrone
or theorbo, he composed music in every genre, most of which is lost today.
Sonate a 1, 2, 3, per il violino, o cornetto, fagotto, chitarrone
, violoncino, o simils altro strumento (1641).
Among them were Jacopo Peri, Luca Marenzio (for only about a year), Cosimo Bottegari, Giovanni Battista Jacomelli, Antonio Archilei, Vittoria Archilei, Antonio Naldi (known as "Bardella," inventor of the chitarrone
or theorbo), Giovanni and Jacopo del Franciosino, and Francesca Caccini.
Piccinini, Alessandro: Intavolatura di liuto, et di chitarrone
Nor is Paris 30 for eleven-course chitarrone
as she claims, but for a fourteen-course instrument (see f.
John Beckett conducted, Michael played chitarrone
and lute, and among the other performers could be descried Grayston Burgess, Tom Sutcliffe, Nigel Rogers, David Munrow, John Sothcott, Desmond Dupre and, almost unbelievably, James Blades on percussion.
1) In keeping with this flexibility of performance, Caccini says that the singer may sing to the accompaniment of a single chitarrone
or other string instrument (contemporary manuscripts containing Caccini's monodies with tablature for lute make it clear that this was a common alternative)(2) without being forced to accommodate himself to others.
It is also refreshing to hear McCreesh use the appropriate continuo instruments, relying principally on the organ and chitarrone
, employing a low string instrument only rarely and certainly not in solo and two-voice motets, and avoiding the harpsichord altogether.
On the other hand, performing issues in general fared somewhat badly, save for a paper on Orfeo by Rodolfo Baroncini and an all too brief communication (time was running out) by David Nutter on Salomone Rossi's use of the chitarrone