I have a Caccini instrument which was made for me made for me which is exactly as Chris describes, a large bodied bass lute. I opted for seven courses, although eight or nine seemed like a good idea. I then played around with the tuning for a while, winding up with G single reentrant because most of the songs-- incl. Amarilli--I wanted to play were in G. I also sometimes play it with the fourth course a half step lower so it can be played in meantone with no extra frets. I use this instrument for a lot of the repertory from 1580-1620.
One can make the case that this is the Chittarone, but whether one uses ths term or not it seems like a basic, practical solution. The instrument is definetely louder than a theorbo, for reasons that are somewhat puzzling, but loud it is. I expected to corner the early 17th century market, but of course 99 percent of the clients have no idea what it is, and then, when it is explained to them, want the theorbo anyway. So much for HIP. And so it goes. dt At 10:25 AM 3/5/2010, you wrote: > Whenever I decide to play Caccini on 7-course lute or on my > (essentially French kind-of) theorbo, I ponder the matter of Caccini's > theorbo and things like the fingered g#. First, I really wish I could > justify the expense of a bass lute with theorbo tuning. It would make > me whole, in a way. > > The Bottegari lute book (1570s) contains at least one tune by Caccini, > and considering the sense of portentousness that Nuove Musiche > (1600something) exudes, I'm inclined to think that versions of the > other tunes contained in it had also been kicking around Caccini's desk > for a while, since a time, maybe, when his songs would have been > accompanied on lute. Even if he says the music is 'Nuove.' > > And since it seems like leaping around octaves in the theorbo bass line > is just a fact of life and can be perfectly euphonious (on A theorbo I > always start 'Amarilli' on the 7th course and finger the following f# > on the 4th course; no complaints yet) I reckon that whatever instrument > he originally intended the songs to be accompanied by, the bass lines > would be written in a way that was sensible enough for keyboardists to > play them as written (maybe also taking pains to ensure that nothing > figured '11' would be played as a mere '4') but that lutenists and > theorbo players were no more octave-bound in 1600 than they were when > Delair authorized playing inconvenient or difficult notes at 16' in > 1690. > > > Date: Fri, 5 Mar 2010 08:49:07 -0800 > > To: Lute@cs.dartmouth.edu; davidvanooi...@gmail.com > > From: chriswi...@yahoo.com > > Subject: [LUTE] Re: Caccini's theorbo > > > > David, > > > > My guess is that is not what we would call a theorbo at all, but > rather a bass lute probably tuned theorbo-like. All the strings would > therefore be on one neck and those chromatic basses could be fingered. > Whether the tuning was in A, G or something else and whether one or > both of the upper courses were down the octave is anyone's guess. > > > > This is almost certainly the same type of instrument Kapsperger used > for his first chitarrone book. I seem to remember that HK doesn't use > more than 11 courses in this book and he also requires an apparently > fingered G# bass note as well as the open G-natural in Toccata VI. > > > > Chris > > > > --- On Fri, 3/5/10, David van Ooijen <davidvanooi...@gmail.com> > wrote: > > > > > From: David van Ooijen <davidvanooi...@gmail.com> > > > Subject: [LUTE] Caccini's theorbo > > > To: "lutelist Net" <Lute@cs.dartmouth.edu> > > > Date: Friday, March 5, 2010, 9:19 AM > > > Do we know anything about the > > > instrument(s) Caccini played? His bass > > > lines sometimes need G as well as G#, (and I believe F as > > > well as F#) > > > in one piece, which is impossible on a 'standard' (...) > > > theorbo in a > > > with 6 strings/courses on the fingerboard. If Caccini were > > > just > > > another composer, and I'd transpose the bass at will, but > > > knowing he > > > was a theorbo player, I'm a wondering about his setup: how > > > many > > > strings on the fingerboard and what nominal pitch? There > > > are many > > > practical solutions, but did somebody make a study into > > > Caccini's > > > lute, perhaps? > > > > > > David > > > > > > -- > > > ******************************* > > > David van Ooijen > > > davidvanooi...@gmail.com > > > www.davidvanooijen.nl > > > ******************************* > > > > > > > > > > > > To get on or off this list see list information at > > > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html > > > > > > > > > > > > > > __________________________________________________________________ > > Hotmail: Powerful Free email with security by Microsoft. [1]Get it now. > -- > >References > > 1. http://clk.atdmt.com/GBL/go/201469230/direct/01/
