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Including Overtones Satie organized by Thomas Dunford for Theorbo – Lyric Say

Lutenist and theorbist Thomas Dunford has introduced a brand new life to music that appears to have had its greatest publicity about 20 years in the past. His ability on these two Renaissance devices brings again many items of music we’d heard way back and forgotten. He is also making preparations of items that had been by no means meant for efficiency on these devices and making us hear them in a brand new manner.

Theorbo

Theorbo

The theorbo is a sort of double lute. Along with the common lute strings, a second set of bass strings is connected to an prolonged neck and second pegbox. Along with taking part in common lute music, the theorbist may play the lower-register notes to offer a bassline, thus having the ability to operate not solely as a melody but additionally as a basso continuo instrument.

One work is Satie’s acquainted Gymnopédies. The title comes from the Spartan competition of gymnopaedia for younger males dancing within the nude. A later music dictionary transferred to be a nude dance carried out by younger ladies and this appears to be what Satie used for his inspiration.

Heard on piano, the items are sparse and spare, understated as is a lot of Satie’s work.

Erik Satie: 3 Gymnopédies – No. 1. Lent et douloureux (Giacomo Scinardo, piano)

French lutenist Thomas Dunford organized Satie’s work for the theorbo, and it takes on a special feeling. The resonance of the theorbo provides a special set of overtones that sound with the melody, and its low dynamic can’t be matched by a piano.

Julien Benhamou: Thomas Dunford with theorbo

Julien Benhamou: Thomas Dunford with theorbo

Erik Satie: 3 Gymnopédies – No. 1. Lent et douloureux (arr. T. Dunford for theorbo) (Thomas Dunford, theorbo)

One other Satie piece organized by Dunford was one of many Gnossiennes. Earlier than Satie, the phrase ‘gnossienne’ was the identify of the dance executed by Theseus to have a good time his victory on the Minoan Palace at Knossos, Crete, over the Minotaur. Satie’s Gnossiennes don’t carry the sensation of dance; they lack time signatures and bar strains, flowing freely throughout the age, with phrase markings of irregular size to assist orient the participant however offering little assist to a dancer.

Erik Satie: 3 Gnossiennes – Gnossienne No. 1 (arr. T. Dunford for theorbo) (Thomas Dunford, theorbo)

‘Updating’ music of the late nineteenth century with an instrument of the seventeenth century is an fascinating thought in transcription. It’s not solely the overtones of the instrument which might be added to the music, however the thought of the instrument itself, developed to be used accompanying that new style, opera.

John Michael Wright: Woman with theorbo, ca 1670

John Michael Wright: Girl with theorbo, ca 1670

The theorbo changed, in a single instrument, the sooner developed bass lutes. The tonal readability was improved when the theorbo took over the bass capabilities, and it was simpler for one participant to regulate the harmonic development between the 2 halves of the instrument.

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