 |
|
|
|
|
Theorboes from £4500
Archlutes from £3750
The precise origins of
the theorbo are still a matter of scholarly debate. There
is a strong body of evidence to suggest that the first
attempts to make an instrument with very long bass
strings occurred in around 1595. According to Piccinini's
account the distictive re-entrant tuning had been
established slightly earlier, and the first chitarrone
were nothing but large bass lutes tuned to a very high
pitch, with the top one or two strings lowered an octave.
Once developed, the advantages of the long upper neck and
extended compass established The form best known
today, typified by the instruments of Buechenberg and
Sellas, was in general terms well established in Italy by
1610. Individual experimentation amongst makers produced
many variant forms, as well as specific regional forms
such as those found in France and England Small
Italian Theorbo, Matteo Sellas. c.1640 (Brussels
M255). Large
Italian Theorbo, Matheus Buechenberg
(V&A). Small
Italian Theorbo, Chistofor Koch c.1650 . Small
French Theorbo in d' Ten fret spaces
on the neck. Single rose.
String length 760/1500mm.
The back is
composed of 31 yew ribs, with black filets. A
very elegant model . One of the smaller Italian
theorboes.
String length 89/1650mm.
Multi
ribbed back ( 31+ ribs) in yew , ebony or
rosewood. Veneered upper and lower
neck.
String length 810/1600mm.
A beautiful
instrument from the mid 17th century. The back
is composed of 15 kingwood ribs separated by
triple filets. With nine fret spaces on the neck
and a string length which should suit all but
the smallest of hands, this is a wonderful model
.
The
Talbot Mss refers to a 'lesser French theorboe
fit for lessons' with a stopped string length of
760mm and basses of 1292mm. - which measurements
form the basis for the design of this
instrument. Fourteen single courses. The body of
this instrument is taken from the bass lute by
Maler (V&A), with nine figured maple ribs.
No instruments of this type survive, but
constructional details for the distinctive form
of upper neck can be taken from similar
angeliques and from numerous paintings of the
period.
Continuo
Archlutes The
development of the archlute seems to be closely connected
with musical practice in Rome, where it is mentioned as
early as 1639. However it was not until the1660s that its
use became widespread, and thereafter the instrument was
enthusiastically adopted in England, Germany, and France,
where the increasing use of high melodic bass lines by
composers made the archlute a more suitable choice than
the theorbo in many musical contexts. As with
the theorbo, regional variations in the manner of builing
developed. The painting by Plaztner (left) shows the
German style of upper neck, with a reverse scroll to the
upper pegbox. Matteo
Sellas 1630 (Bologna No.1748) 14
courses: six double courses on the lower neck,
eight single basses. The original has 33 shaded
yew ribs separated by ebony filets. The archlute
shown has a simpler back of 13 plain yew
ribs.Neck and extension are veneered in ebony.
The soundboard has a single rose. After
Magno Dieffopruchar c.1600 (Vienna KHMC
45) String
length: 670mm & 1420mm 14
courses: six double courses on the lower neck,
eight single basses. The original has a back of
31 shaded yew ribs with ebony filets between.
The neck and extension are veneered in ebony.
The soundboard has a triple rose and an ivory
and ebony heart in the soundboard.
