**** Welcome to the "LuteBot Quarterly" **** - the free electronic lute journal - *** #7, Summer 1999 **** *** by Federico Marincola *** The "LuteBot Quarterly" serves to disseminate information on the lute and its charming literature. Each issue contains one or more articles, plus some lute tab source scripts. This document contains inline ASCII graphics which look best unformatted, in a monospace font like Courier. * To receive the latest issue of the "LuteBot Quarterly", send an email to: * To receive the following past issues of the "LuteBot Quarterly", send a request to : ---> LuteBot Quarterly #1, Winter 1998: Vincenzo Capirola and his Lute Book - 1517 (by F. Marincola) ---> LuteBot Quarterly #2, Spring 1998: Adrian Le Roy's "A Briefe and easye instruction" - 1568 (a synopsis, by Ian Harwood) ---> LuteBot Quarterly #3, Summer 1998: The "Honorable homme Maistre Guillaume Morlaye, marchand bourgeoys de Paris" (by F. Marincola) ---> LuteBot Quarterly #4, Autumn 1998: The "Raimondi Manuscript - 1601" an Italian lutebook (by Franco Pavan) ---> LuteBot Quarterly #5, Winter 1999: The Calichon and the Mandora (by Pietro Prosser) ---> LuteBot Quarterly #6, Spring 1999: "The Lady of the Lute": an unpublished interview with Diana Poulton (1977) (by C. Alba) * To receive my Electronic Brochure, send an email to * For further information about the lute and about me, and for links to interesting lute sites, tablature editors, etc, visit my Lute Page: http://www.marincola.com * To subscribe to "liuto-it", the Italian Lute Mailing List, send an email to , with the following line in the body of the message: subscribe liuto-it --------------------------------------------------------------------------- **** Copyright and dissemination **** | Under the Berne Convention, this document, where not otherwise specified, | is Copyright (c) 1999 by Federico Marincola (lute@marincola.com), all rights | reserved. Permission is granted for it to be reproduced electronically on any | system connected to the various networks which make up the Internet, Usenet, | and FidoNet so long as it is reproduced in its entirety, unedited, and with this | copyright notice intact. Web sites are included. Individual copies may | also be printed for personal use. This document was produced for free redistribution. If you paid money for it, not only did you do so unnecessarily, but none of the money went to the person who did the work of producing the documents. You need not obtain special permission to quote parts of this document for academic research purposes, as long as you cite the source. If you would like to offer suggestions and ideas, please email me at . -------------------------------------------------------------------------- *** Table of contents *** Part I -- An hypothesis on the tuning of the Italian theorbo (by Andrea Damiani) Part II -- About Andrea Damiani Part III -- About Federico Marincola Part IV -- Two pieces for the Italian theorbo ------------------------------------------------------------------------------------------ Part I -- An hypothesis on the tuning of the Italian theorbo, by Andrea Damiani (with the kind permission of the SIL - Societa' Italiana del Liuto, English translation by Federico Marincola and Doc Rossi) (1) If you know the XVII-century Italian theorbo repertoire, while reading through pieces you will surely have noticed that some passages don't seem to fit the typical re-entrant tuning of the instrument, for instance when a melodic line moving by step is suddenly broken by the passage from the 3rd to the 2nd course (or the other way round). Here is an example, found in a Corrente from the "Libro di Sonate intavolate su la Tiorba" (Vatican Library Ms 4145, R - Vat., fol. 26v, b. 1-3): ex. #1 |\ |\ |\ |\ |\ |\ |\ | | | |\ | | |\ | | | |. | | |. | | | -0- -0- -------|-----3---2-|-3---2---0-|----- -------|-0---------|-----------|----- ----0--|-----------|-0---------|-0--- ----0--|---------3-|-----3---1-|-0--- ----3--|-2---0-----|-0---------|----- -------|-----------|-----------|----- T T T Similar situations are rather common in the works of Melii and Pittoni, as well as in some manuscripts, but are carefully avoided by other composers like Piccinini, Kapsberger and Castaldi. Up to now such discrepancies have been explained by the possibility that some composers or arrangers didn't yet understand the peculiarities of the relatively new instrument very well. For instance, K. Mason, talking about the chitarrone tablature included in a madrigal by S. Rossi, suggests: "It is difficult to say whether or not such an accompaniment was acceptable or if Rossi simply did not know how to write for the chitarrone at this early date."(2) Actually, some manuscripts show that at least a part of the early solo repertoire for the theorbo was made from arrangements of lute pieces. The theorbo was originally invented to play the basso continuo, and transcriptions from one instrument to the other where not always satisfactory.(3) Melii himself, in the preface to his "Libro Quinto," affirms that he has included some theorbo pieces "even if this is not my own profession", probably meaning that to follow current fashion he composed for an instrument that he didn't know very well. If it is true that the earlier pieces reflect a lack of knowledge of the instrument on the part of composers and arrangers, the problem would seem to have already been solved: it would be better not to play those pieces full of discrepancies, as they were written by incompetent composers. However, I think we should give Melii, Pittoni and some anonymous composers (who have actually written some beautiful pieces) a chance, and presume that perhaps they were not so unqualified as to ignore the most elementary rules of music. Let me form a second hypothesis; it will need more evidence to be really convincing, but perhaps it is worth experimenting with: as we know, the first two courses of the Italian theorbo were tuned down an octave, but this was not the only possible tuning; Banchieri, for instance, gives a tuning in G with only the first course at the lower octave. Moreover, we know that most of the surviving instruments are arranged to have two strings for each course (4) and, as far as I know, nowhere is it written that these double strings had to be tuned in unison. Perhaps to play the above-mentioned pieces correctly, we should use double-course instruments with the strings of the 2nd course (but not only, as we will see) tuned an octave apart. I got this idea through playing the XVII-century guitar repertoire. Here we find the same problem, but we know that guitarists used a variety of tunings which made it possible to split a melodic line between non-adjacent courses: the so-called "campanelas" effect, as Gaspar Sanz says. Sanz studied in Rome with Colista, who was teaching both the theorbo and the guitar. We know that there were several ways of stringing and tuning the guitar, but what is not usually mentioned is that the 3rd course of the guitar could also have one of its strings at the higher octave. We find this in a manuscript now in Bologna. This particular tuning was noticed for the first time by M. Lorimer, and is a little discovery that has allowed us to play several rather obscure passages in the works by Sanz, Bartolotti and Roncalli (to mention only a few names) in a coherent way.(5) ===== > See the Example #2 at http://www.marincola.com/lutebot7/example2.htm <===== The connection between the guitar and the theorbo is clear: unlike the lute, which tended to conserve its "contrapuntal soul", these two instruments developed in a parallel way during the XVII century, and they had in common the search for new timbres and sonorities. This was developed through the re-entrant tunings and octave stringing on the lower courses, whose purpose was to create illusory extensions in the range, and through the typical play with colors stemming from the simultaneous vibration of close notes [seconds] played on different strings. On top of this we know that important musicians like Colista and Bartolotti played both lute and guitar, leading us to suppose that perhaps they used some common expedients on both instruments. We also know that in the XVII century several guitarists considered themselves indebted to lute and theorbo players for whatever on their instrument was different from the simple "rasgueado" technique: see, for example, the prefaces to the books by Pellegrini and Valdambrini. The latter specifically says: "To enrich and perfect this instrument I used several ways and manners of playing peculiar to other instruments, like the ‘arpeggiare’, the ‘strascino’, the ‘groppeggiare’, the ‘trillo’ and other inventions by Mr. Girolamo Kapsberger".(6) I have tried this new tuning on the theorbo and have found the result charming, especially with the sound of the double courses - today we usually string the theorbo with single strings, more for practical than for historical reasons - and for the effects produced by the octaves. The high string on the 2nd course allows us to connect to the tones on the 3rd, while the low string on the 2nd course connects the 2nd to the 1st, and also creates the effect of the entrance of extra voices. You can see this in the following fragment from a piece by Melii,(7) which allows us to absolve this composer from the charge of musical illiteracy: ex. #3: |\ |\ |\ |\ |\ |\ |\ |\ | | |\ | | |\ | | | | | | | | | | -0- -----------|-----------|1--3-----|-------------|---------|1-------|----- --------4--|---3-1--0--|------0--|-------------|0--1--3--|--------|----- --0--2-----|0----------|---------|---2-3-------|---------|---3----|----- --------3--|-----------|---------|-------1-3---|------1--|3-----3-|----- -----------|--------2--|3--3--2--|-3---------0-|1--3-----|1-----1-|----- --1--3--0--|1----------|---------|-------------|------0--|1-----1-|----- A possible objection to this theory is that with this tuning the problem is shifted from the 2nd to the 1st course. In fact, because of the high string, some passages sound a bit peculiar, but we still have a common sound given by the low string. It is not really perfect, but we shouldn't ask for perfection from this sort of instrument and music anyway. Once we accept the possibility of tuning the 2nd course as an octave pair, we should ask ourselves whether the 5th and the 6th courses should also be tuned so. This seems reasonable in passages like in the first bar of ex #4 (from the "Libro di Sonate intavolate su la Tiorba", Vatican Library Ms 4145, R - Vat. foll. 15v-16v), where the 5th course would then be well connected with the 3rd course (the lower note would be the bass, while the higher octave would be the first note of the melody, which continues on the 3rd course. The exceeding value on the last beat of the 2nd bar is probably an ornament). ex. #4: Passagaglio |\ |\ |\ |\ |\ |\ | | |\ | | | |. | | -----------|---3---1-0-|1--- --0--------|0----------|---- -----------|---0-------|---- ----2-3----|3----------|---- etc. --------0--|1--0----2--|---- -----------|-----------|---- T Similar passages can also be found between the 6th and the 4th course. Moreover, the higher octave of the 6th course could be used to soften the difference in timbre when passing between the 6th and the 7th courses. In fact the sound of the 7th course (the first course on the long neck of the Italian theorbo) has a prevalence of higher harmonics, which produces an effect of a "higher octave". We should also find out in which position in the course the higher string should be placed. It is obvious that the 6th and 5th courses should be arranged as on a "normal" lute (lower string up and higher string down). The 2nd course, though, presents other problems: I have tried both possibilities and find that perhaps the best solution is to place the strings as in the 6th and 5th courses, but the lower string should have the bridge knot a bit higher, in such a way that the index and middle fingers of the right hand can pluck both the strings. On the contrary, if one arranges the strings of the 2nd course as on the baroque guitar (with the octave string in the upper position) in my humble opinion it is less efficacious, as it gives too much emphasis to the higher octave. This tuning, of course, is suitable only on a small theorbo, in order to have the octave strings neither too thin nor at too high a tension. At this point we should start a new area of research: what do we REALLY know about the use of an instrument like the theorbo, which has survived in so many different shapes and sizes? Do we know exactly which model (shape, sonority, double or single courses, etc.) was considered the best to play the basso continuo, and which instrument was preferred for the solo repertoire? I feel that there were many more possibilities and uses than we can even imagine today. For instance, are we sure that basso continuo works better on a single-strung theorbo? If we try playing the musical examples contained in the Bartolotti and Fleury theorbo tutors with octave strings, we can easily see that several examples which seemed incorrect become acceptable. If we read through the manuscript in the Vatican Library that I mentioned before, we will see that the first part of the book (which contains, among other things, two pieces from Kapsberger's "Primo Libro") is written for a tuning with the 2nd course at the lower octave, while the second part, written several years later by a different hand, requires the 2nd course at the higher octave. It is also difficult to find geographical limitations for this tuning: we find it in Rome, as well as in north Italy (Melii and Pittoni). If we want to increase our knowledge, I really think we should not be so tied to some of the ideas that we are used to and that we take for granted. Surely there is still much to be discovered: we can only keep on inquiring, asking for the help of the musicologists and organologists. They are more competent, and have more time for this sort of research than instrumentalists like us do. Hopefully they will soon clarify this and other mysteries of the Italian theorbo. Notes (1) This article was first published in Italian in the "Bollettino della Societa' Italiana del Liuto" (Anno IV, Numero I, Vol. XI, January 1994). (2) K. Mason, "The Chitarrone And Its Repertoire in Early Seventeenth-Century Italy", Boethius Press, 1989. (3) For instance, the Ms. Pesaro (Italy), Cons. G. Rossini, b 14/7346, contains some pieces for the theorbo, other pieces for the lute, plus other tablatures in which it is not very clear for what sort of tunings they are intended. (4) The Italian lute maker Ivo Magherini informs me that at least the 80 % of the surviving theorbos are double strung, and remarks that it is difficult to imagine that the lute makers of the past would waste their time in doing a job which was not utilized by the players. (5) Quoted in the introduction to the "Saldivar Codex N.4, Santiago de Murcia manuscript of baroque guitar music", M. Lorimer, Santa Barbara 1987, p. XIX. This is manuscript I:MOe Ms. 612.8.L.10.21. Unfortunately up to now I have not been able to examine it. (6) "Per arricchire e perfettionare questo stromento, mi sono prevalso di molti modi e maniere usate in altre sorte d'istromenti, come l'arpeggiare, il strascino, il groppeggiare, il trillo, et altre inventioni del Sig.e Girolamo Kapsberger", in F. Valdambrini, "Libro Primo d'Intavolatura di Chitarra", Roma 1646, p.2. On the habit of playing more than one instrument, see also the introduction by O. Cristoforetti in G. Zamboni, "Sonate d' Intavolatura di Leuto", SPES, Firenze 1982. (7) "Signora Anzoletta, Gagliarda per la Tiorba", in P.P. Melii, "Intavolatura di Liuto Attiorbato e di Tiorba, Libro Quinto", Vincenti, Venezia 1620, p. 42. ----------------------------------------------------------------------------------------------- Part II -- About Andrea Damiani After having studied guitar, Andrea Damiani studied lute under Diana Poulton, later studying with Anthony Bailes and Hopkinson Smith. He has earned diplomas in lute from the Royal College of Music in London an the Conservatorio Niccolo Piccinni in Bari. Mr. Damiani maintains a busy concert schedule both as a soloist and as a member of several well-known Italian groups, such as the Concerto Italiano, which has played at major festivals in Austria, Belgium, Finland, France, Germany, Great Britain, Holland, Italy, Portugal, Spain, Switzerland and USA. As a soloist, Mr. Damiani has given numerous recitals dedicated to the repertoire of the Italian renaissance and baroque, and of 18th-century German composers, especially J. S. Bach and S. L. Weiss. Mr. Damiani has recorded for and broadcast on several major European radio networks such as the BBC, ORTF, RAI, WDR, etc. As a specialist in basso continuo on the theorbo and archilute, he has participated in numerous recordings for Arcana, Erato, Harmonia Mundi, Opus 111, Philips, Symphonia and Tactus. As a soloist he has recorded a CD dedicated to rare 15th-century sources from the province of Marche for the "E lucean le stelle" label, and another dedicated to Il Fronimo of Vincenzo Galilei, for Stradivarius. Mr. Damiani is regularly invited to teach at several international early music courses, such as those held in Chiusi della Verna, Erice, Lanciano, Urbino and by the Cini Foundation of Venice. He is currently Lute instructor at the Conservatorio A. Boito in Parma. Mr. Damiani is also the author Method for Renaissance Lute, published by Ut-Orpheus, Bologna. Andrea Damiani via Capo Miseno 21 00141 Roma (RM) Italy tel and fax: +39 06 86 21 01 53 cell. +39 (0)347 24 03 686 email electronic brochure ---------------------------------------------------------------------------------------- ---------------------------------------------------------------------------------------- Part III -- About FEDERICO MARINCOLA I live at the border between France and Italy, but I spend a lot of time traveling around to play my concerts and to teach. Usually I have a quite tight schedule, but, if you contact me well in advance, I might be available for recitals and seminars, or for collaborations with professional renaissance and baroque ensembles. Here are my addresses and phone numbers: email: marincola@yahoo.com Lute Page: http://www.marincola.com snailmail: CP 50, 18039, Ventimiglia (IM), Italy French Tel. + 33.4.93356658 Italian mobile + 39.347.7309321 Here is my CV. If you want to check my complete discography, see some press reviews etc, you are warmly invited to visit my Lute Page at http://www.marincola.com ----- Curriculum Vitae ----- Born in Rome, Federico Marincola studied classical guitar with Sergio Notaro, later specializing in the lute with Diana Poulton. Having won a grant from the Dutch Government, he studied with Anthony Bailes at the Sweelinck Conservatorium of Amsterdam. Another grant from the British Council enabled him to study with Jakob Lindberg at the Royal College of Music in London, where he obtained a Performer diploma in lute, a second diploma in early music and the Certificate of Advanced Study. He completed his training with Nigel North and Christopher Wilson. In the last twenty years, Federico Marincola has been very active as a performer. He has given many solo recitals and played with singers and early music groups all over Europe. In 1986, he toured as a soloist in India, Pakistan, Nepal, Bangladesh and Sri Lanka. He is also in demand as a "basso continuo" player, and has played in many baroque operas at some of the most famous opera theaters of Italy (Teatro alla Scala, Milan; Teatro dell’ Opera, Rome; Teatro Massimo, Palermo; Teatro Comunale, Florence; Teatro San Carlo, Naples...). He has made more than twenty CDs with orchestras and small groups, and has broadcasted in Italy, Switzerland, Yugoslavia, the Vatican, India and Shri Lanka. With "Verany Disques - Arion", he recorded a CD of pieces from the "Vincenzo Capirola Lute Book" in 1992 (PV793012), a CD of pieces for lute and renaissance guitar by the French composer Guillaume Morlaye in 1993 (PV794052) and a third CD of lute pieces by Anthony Holborne in 1995 (PV795112). These solo recordings have been very positively welcomed by the international press ("5 Diapasons" to Capirola and Morlaye, "5 Diapasons" and "10 by Repertoire" to Holborne). Federico Marincola, who is also one of the founders of the Societa' Italiana del Liuto, uses an instrumental technique which is based on several treatises and iconographical sources from the 16th and 17th centuries. He believes that, to give a convincing performance of this repertoire, it is of paramount importance to have a profound knowledge of the original fingerings and criteria of interpretation. He also finds ideas and inspiration for the performance of early music in certain aspects of the philosophy and astrology of the Renaissance period. In the last few years he has also turned his attention to the study of social science: he is convinced that the sociology of music can be a great help in understanding the "spirit of the age" in which the different repertoires were produced. In 1994 he was highly commended for his thesis on the Jesuit opera Apotheosis sive Consecratio SS. Ignatii et Francisci Xaverii (1622) by Hieronimus Kapsberger, which earned him his degree in Sociology at the University of Urbino. He teaches the lute and the early guitars at the "Academie de Musique" of Monaco-Montecarlo. ------------------------------------------------------------------------------------------ ------------------------------------------------------------------------------------------ Part IV -- Two pieces for the Italian theorbo This time I decided to include a couple of interesting pieces for the Italian theorbo related to Andrea's article: "Signora Anzoletta, Gagliarda per la Tiorba" from Melii's "Intavolatura di Liuto Attiorbato e di Tiorba Libro Quinto", Vincenti, Venezia 1620, p. 42, and a "Passagaglio" from the "Libro di Sonate intavolate su la Tiorba" (Vatican Library Ms 4145, R - Vat. foll. 15v-16v) They are in jpg, and can be downloaded in a zipped file: http://www.marincola.com/lutebot7/tiorba.zip ***************** HAPPY PLUCKING ;-)))! ************************** ######### end of the "LuteBot Quarterly" #7, Summer 1999 ########## (by Federico Marincola )