Jakob Lindberg Thoroughly Masters Theorbo Solos

Jakob Lindberg is a master of the theorbo. I wonder, though: how does he travel with that thing? Flying must be a nightmare. 

The theorbo is an early Baroque instrument and part of the lute family. The outsized member of the family. It doesn't even fit on the album cover!

The theorbo was typically over 6 feet long and often used as a bass instrument. A common theorbo had 14 courses (pairs of strings), though some had as many as 19 courses or 38 strings. The instrument had a range running from middle C to about two and a half octaves lower. 

Usually the theorbo was part of the basso continuo, supporting solo instruments. A keyboard instrument such as a harpsichord filled in the harmonies. And the theorbo outlined the bass. 

Robert de Visée was an accomplished stringed instrumentalist. He served the courts of both Louis XIV and Louis XV of France in the early 1700s. He was a virtuoso luenist, guitarist, and theorboist. Visée published a collection of works for solo theorbo in 1716. He aimed to  demonstrate the viability of the theorbo as a solo instrument. 

And he succeeded. This release features several works from that collection. It also includes some of Visée's unpublished manuscripts for solo theorbo. 

It's a remarkable program. Visée's writing exploits the full potential of the instrument.

The theorbo has a deep, resonant sound. It may remind modern listeners of a cello, but it's more than that. The theorbo, like the lute, has a clean tone that's never muddy -- no matter how low the notes. 

Lindberg's playing is a perfect blend of technical ability and tasteful musicianship. He skillfully weaves together Visée's polyphony, keeping all the lines balanced. 

It's a wonderful collection of music. And it's most wonderfully performed. Highly recommended. Though I still wonder How Lindberg travels with that thing. 

Robert de Visée: Theorbo Solos
Jakob Lindberg, theorbo
BIS 2562

Tune thy Musicke to thy Hart: Music for private devotion

Tune Thy Musicke to Thy Hart
Tudor and Jacobean music for private devotion
Stile Antico
Fretwork
Harmonia Mundi

There have been many albums of English renaissance music, but none quite like this. Tune thy Musicke brings to light some truly neglected repertoire -- sacred music for the manor home.

From the time of Henry VIII through James I, amateur musicianship flourished to a high degree of proficiency. Stile Antico shows just how high with this new release. Most recordings of renaissance sacred music are works that were written -- and meant to be performed -- in churches and chapels by professional choirs. Neither is the case with the music on this album.

Although the compositions may be unfamiliar, the composers are not. Thomas Tomkins, John Taverner, Thomas Tallis, John Dowland, William Byrd, Orlando Gibbons are among those represented. As with their secular music for the home, these composers didn't sacrifice quality simply because they were writing for amateurs.

The works presented fall stylistically between the two camps of secular domestic music and sacred church music. Some compositions, such as Thomas Campion's Never weather-beaten sail are jewels of four-part harmony and sound very much like hymns. Although if they were treated more lightly, they almost might sound like secular frottala.

Others, such as John Amner's seven-minute O ye little flock owe more to the madrigal tradition. Amner's ambitious work has several sections that change tempo and mood to suit the lyrics. Counterpoint, supported by instrumental doubling, further illuminates the text. And yet, as the contrapuntal lines spin outward, they seem to evoke the chapel more than the dining room.

Stile Antico performs with clarity and precision. Fretwork lends support on some selections, their viols adding a warm richness to the ensemble. Even if you have a lot of renaissance music, I highly recommend this recording. It fills in a missing gap in the English renaissance repertoire, with music that has a character all its own.