It is with much interest that a music reader will learn how "Mersenne verified his observations 'very exactly more than a hundred times, on the viol and on a theorbo
, as well as on two monochords'" (Pesic, 2014, p.
DiDonato, who looked like a Baroque rock star with her short, punk hairstyle and crimson Vivienne Westwood gown, was accompanied by Il Pomo d'Oro orchestra, a 16-member ensemble from Italy that plays period Baroque instruments including the harpsichord and theorbo
, a type of lute.
The petit motets are intimate works that were usually for one, two, three, or, rarely, four voices (male, female, or mixed) with accompaniment of two violins, keyboard, and a bass stringed instrument like a cello, viola da gamba, and often a flute, theorbo
is an obselete form of which musical instrument?
I spied a harpsichord nestling in the pit and there was also a Theorbo
(a base Lute, apparently).
In 1707, for example, the coro was made up of thirteen active vocalists, (five sopranos, four contraltos, three tenors, and a bass), and sixteen instrumentalists (five first-violinists, two violists, four cellists, one doublebass player, one theorbo
(16) and three organists) (Baldauf-Berdes 236).
By the Baroque period it had developed larger and larger variants, which culminated in the sitar-like theorbo
. Recorders were designed in sets from small to large, as were viols.
of this instance for teaching mi Ladi Bayning to singe xl s' and purchased 'A Theorbo
for Mr Willson to play with nan as she singes.
Of particular interest is Batschmann's discussion of images of artists as musicians, from the famous group of music-making Venetian painters found in Veronese's Marriage Feast at Cana to a lesser-known engraving by Domenico Gandini, an example of nineteenth-century historicism that depicts Albrecht Duter in the company of Giorgione, who plucks a theorbo
. Ut pictura musica, a theme found in Vasati's biographies of the purportedly music-loving Giorgione and Leonardo, may have also informed Bellini's music-making angels who, according to the author, may at once represent Bellini's translation of "acoustic phenomena in visual terms" (190) and allude to the artist's own identity as a composer of color rones.
The accompanying ensemble consisted of Suzanne Stumpf, traverso (forerunner of the flute); Christina Day Martinson and Hilary Walther Cumming, violins; Daniel Ryan, cello; Olav Chris Henriksen, Baroque guitar and theorbo
, Nancy Hurrell, Spanish harp, and Michael Bahmann, harpsichord.
The group, led by Merseyside-born violinist Adrian Chandler, comprised cellist Gareth Deats, harpsichordist Joseph McHardy and theorbo
player Eligio Quinteiro.