[LUTE] Re: Things to play in quarantine

[Diego Cantalupi]

Each one with his/her phone.

Il 23/03/2020 16:11, Dr. Henner Kahlert ha scritto:

Wonderful! With which device did you manage to play and record this?

Henner

Am 23.03.2020 um 14:35 schrieb Diego Cantalupi:

    If you have some students and a singer:

    [1]https://www.youtube.com/watch?v=6x1aPRquAGg

    --

References

    1. https://www.youtube.com/watch?v=6x1aPRquAGg


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[LUTE] Re: Things to play in quarantine

[Diego Cantalupi]

   If you have some students and a singer:

   [1]https://www.youtube.com/watch?v=6x1aPRquAGg

   --

References

   1. https://www.youtube.com/watch?v=6x1aPRquAGg


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[LUTE] Re: Gianoncelli

[Diego Cantalupi]

thanks Bernd,

but I can't see any pdf at the link you sent.

Diego

Il 26/12/2019 16:38, Bernd Haegemann ha scritto:

Paulduif.home.xs4all.nl


Von meinem iPhone gesendet


Am 26.12.2019 um 16:23 schrieb Diego Cantalupi :

Hi all! Does somebody have a digitalisation of the Gianoncelli lute book and 
would like to share it?
My SPES copy is in my school, about 900 km. from me
Thanks,

Diego



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[LUTE] Gianoncelli

[Diego Cantalupi]

Hi all! Does somebody have a digitalisation of the Gianoncelli lute book and 
would like to share it?
My SPES copy is in my school, about 900 km. from me
Thanks,

Diego



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[LUTE] download lute music from kbr.be

[Diego Cantalupi]

Any idea?
It seems impossible also to save the single pics!

Greetings,

Diego



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[LUTE] Re: Ballard's 2nd book

[Diego Cantalupi]

I also wrote in Russia.

It seems tht in september they are going to send me a reproduction.

Let's wait and see.

Greetings,


Diego


Il 04/08/2017 09:36, Jean-Marie Poirier ha scritto:

Hi  Nancy,
I have the same interest in Robert Ballard and I wrote to the library in Russia 
where the only copy of Ballard's second book of 1614 is kept to ask about a 
possible copy of it but I never got an answer...
I would be very interested to know if someone around owns a copy and would be 
ready to share it.
Best wishes,
Jean-Marie


Le 3 août 2017 à 23:33, Nancy Carlin  a écrit :

I am interested in Ballard's music - does anyone know of a place where I can 
see the facsimile online, or have a pdf file they could shre with me?
Nancy

--
Nancy Carlin
Administrator THE LUTE SOCIETY OF AMERICA
http://LuteSocietyofAmerica.org

PO Box 6499
Concord, CA 94524
USA
925 / 686-5800

www.groundsanddivisions.info
www.nancycarlinassociates.com



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[LUTE] Re: Vivaldi lute concerto

[Diego Cantalupi]

Some very HIP thumb out Vivaldi.

https://www.youtube.com/watch?v=qyY5pB2a0cU



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[LUTE] Re: Vivaldi lute concerto

[Diego Cantalupi]

Let's say that his playing is quite irritating for me.

Inviato da iPhone

> Il giorno 11 ott 2016, alle ore 11:46, Roman Turovsky <r.turov...@gmail.com> 
> ha scritto:
> 
> 
> There is really nothing Segovian about it.
> 
> A Segovian usually means unmusical, sloppy, irritating etc.
> 
> RT
> 
> 
>> On 10/11/2016 5:09 AM, Diego Cantalupi wrote:
>> The question is different:
>> 
>> why one should play a baroque lute concerto on a lute-shaped guitar
>> using an old fashon Segovian style?
>> 
>> 
>> Il 11/10/2016 10:47, Jarosław Lipski ha scritto:
>>>> On 11 Oct 2016, at 01:37, Roman Turovsky <r.turov...@gmail.com> wrote:
>>>> 
>>>> Not really. There are a lot of factors in LF manufacture that are
>>>> absent is this.
>>>> 
>>>> Many people play single-strung archlutes with nails, some without.
>>>> Stephen Stubbs with, Konrad Junghaenel and Konstantin Bozhinov without.
>>>> 
>>>> RT
>>>> 
>>> Sure, I am not criticising anyone. On the contrary, I said Luca’s
>>> performance was very successful. On the other hand one may ask
>>> questions like: why someone plays single strung archlute if there is
>>> little evidence for this type of instrument, why someone uses
>>> fingernails if the evidence speaks against using them, and why
>>> someone uses amplification (Noble prize for someone who’ll find any
>>> evidence for this :)) And if all of this is used simultaneously, then
>>> one may assume it is not coincidental. Why? Because it is much more
>>> guitar-like, and most of lute players started their musical education
>>> as guitarists. Another problem is the fear of not being heard by an
>>> audience especially when playing in a group .
>>> Again, I am not criticising, however it should be pointed out that
>>> there are 2 ways of looking at authenticity IMHO, and someone who has
>>> no experience in early music may feel a little bit confused.
>>> Best
>>> JL
>>> 
>>> 
>>>>> On 10/10/2016 5:33 PM, Jarosław Lipski wrote:
>>>>> Name it as you like, for me it’s a Liuto forte. There is another
>>>>> version of RV93 played by Luca here
>>>>> https://www.youtube.com/watch?v=JB101T_sVog
>>>>> <https://www.youtube.com/watch?v=JB101T_sVog>
>>>>> The whole instrument is single strung again, and the evidence for
>>>>> this type of archlute stringing is very scarce as Howard rightly
>>>>> noticed. Luca uses fingernails, so this is another factor that
>>>>> influences the overall sound (not only mics).
>>>>> JL
>>>>> 
>>>>> 
>>>>>> On 10 Oct 2016, at 22:28, Roman Turovsky <r.turov...@gmail.com>
>>>>>> wrote:
>>>>>> 
>>>>>> on a good authority of RT.
>>>>>> Luca has at least 2 of these, one with a much longer extension.
>>>>>> RT
>>>>>> 
>>>>>> 
>>>>>>> On 10/10/2016 4:16 PM, Jarosław Lipski wrote:
>>>>>>> Really? Is there any evidence to support this theory?
>>>>>>> JL
>>>>>>> 
>>>>>>> 
>>>>>>>> On 10 Oct 2016, at 22:15, Roman Turovsky <r.turov...@gmail.com>
>>>>>>>> wrote:
>>>>>>>> 
>>>>>>>> It is certainly NOT a liuto-forte, but a single-strung archlute
>>>>>>>> by Luc Breton.
>>>>>>>> RT
>>>>>>>> 
>>>>>>>>> On 10/10/2016 2:06 PM, Jarosław Lipski wrote:
>>>>>>>>> The instrument in question is not an archlute or liuto
>>>>>>>>> attiorbato, but a liuto forte. Some lute players like Luca
>>>>>>>>> Pianca, Luciano Contini, Eric Bellocq and many others use it,
>>>>>>>>> however I would be far from saying that this is a historical
>>>>>>>>> instrument - see here http://liuto-forte.com/ueb_00_en.html
>>>>>>>>> <http://liuto-forte.com/ueb_00_en.html> It’s easier to
>>>>>>>>> play and was specially created with guitarists in mind.
>>>>>>>>> Also Lucas fingering in Vivaldi isn’t really Baroque.
>>>>>>>>> Having said that, his performance from musical point of

[LUTE] Re: Vivaldi lute concerto

[Diego Cantalupi]

The question is different:

why one should play a baroque lute concerto on a lute-shaped guitar 
using an old fashon Segovian style?



Il 11/10/2016 10:47, Jarosław Lipski ha scritto:

On 11 Oct 2016, at 01:37, Roman Turovsky <r.turov...@gmail.com> wrote:

Not really. There are a lot of factors in LF manufacture that are absent is 
this.

Many people play single-strung archlutes with nails, some without. Stephen 
Stubbs with, Konrad Junghaenel and Konstantin Bozhinov without.

RT


Sure, I am not criticising anyone. On the contrary, I said Luca’s performance 
was very successful. On the other hand one may ask questions like: why someone 
plays single strung archlute if there is little evidence for this type of 
instrument, why someone uses fingernails if the evidence speaks against using 
them, and why someone uses amplification (Noble prize for someone who’ll find 
any evidence for this :)) And if all of this is used simultaneously, then one 
may assume it is not coincidental. Why? Because it is much more guitar-like, 
and most of lute players started their musical education as guitarists. Another 
problem is the fear of not being heard by an audience especially when playing 
in a group .
Again, I am not criticising, however it should be pointed out that there are 2 
ways of looking at authenticity IMHO, and someone who has no experience in 
early music may feel a little bit confused.
Best
JL



On 10/10/2016 5:33 PM, Jarosław Lipski wrote:

Name it as you like, for me it’s a Liuto forte. There is another version of RV93 
played by Luca here https://www.youtube.com/watch?v=JB101T_sVog 
<https://www.youtube.com/watch?v=JB101T_sVog>
The whole instrument is single strung again, and the evidence for this type of 
archlute stringing is very scarce as Howard rightly noticed. Luca uses 
fingernails, so this is another factor that influences the overall sound (not 
only mics).
JL



On 10 Oct 2016, at 22:28, Roman Turovsky <r.turov...@gmail.com> wrote:

on a good authority of RT.
Luca has at least 2 of these, one with a much longer extension.
RT


On 10/10/2016 4:16 PM, Jarosław Lipski wrote:

Really? Is there any evidence to support this theory?
JL



On 10 Oct 2016, at 22:15, Roman Turovsky <r.turov...@gmail.com> wrote:

It is certainly NOT a liuto-forte, but a single-strung archlute by Luc Breton.
RT

On 10/10/2016 2:06 PM, Jarosław Lipski wrote:

The instrument in question is not an archlute or liuto attiorbato, but a liuto forte. 
Some lute players like Luca Pianca, Luciano Contini, Eric Bellocq and many others use 
it, however I would be far from saying that this is a historical instrument - see 
here http://liuto-forte.com/ueb_00_en.html 
<http://liuto-forte.com/ueb_00_en.html> It’s easier to play and was 
specially created with guitarists in mind.
Also Lucas fingering in Vivaldi isn’t really Baroque. Having said that, 
his performance from musical point of view was successful, and I am glad to see 
people talking about music on this list :)
Best



On 10 Oct 2016, at 18:23, howard posner <howardpos...@ca.rr.com> wrote:



On Oct 10, 2016, at 8:33 AM, Diego Cantalupi <tio...@gmail.com> wrote:

The main problem to me, is that the concerto is played in C, and not. in D.
It's easier on a G archlute, but sounds to me very strange for the violins.

Luca plays an archlute/liuto attiorbato in A.  I believe Giardino Armonico 
plays at A 415.  I’m guessing the pitch is lowered on the Youtube video 
we’re talking about.  This is commonly done to avoid detection by 
copyright bots.

Here’s a recording of Giardino and Luca doing the same concerto, 
sounding in D at A 415:

https://www.youtube.com/watch?v=a0kJwhbZcAM

Of course, it’s possible that the sound is adjusted up on this one.



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--

--

[LUTE] Re: Vivaldi lute concerto

[Diego Cantalupi]

Here's my version:

https://youtu.be/dkPp4pDWGQI

I used an 'ordinary' archlute. In my opinion there are no problems about 
single or double strings, but mainly about good taste and esthetic.





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[LUTE] Re: Vivaldi lute concerto

[Diego Cantalupi]

The main problem to me, is that the concerto is played in C, and not. in D.
It's easier on a G archlute, but sounds to me very strange for the violins.


Inviato da iPad

> Il giorno 10 ott 2016, alle ore 17:14, Ron Andrico  ha 
> scritto:
> 
>   The only bit of opinion in my previous message was that I thought Luca
>   Pianca's performance was musical.  The rest is supported by factual
>   information.
> __
> 
>   From: Matthew Daillie 
>   Sent: Monday, October 10, 2016 3:11 PM
>   To: Ron Andrico
>   Cc: fournierbru; lute@cs.dartmouth.edu
>   Subject: Re: [LUTE] Re: Vivaldi lute concerto
> 
>   I'm not in the least bit surprised that our opinions and tastes differ
>   Ron.
>   Matthew
>> On Oct 10, 2016, at 16:51, Ron Andrico  wrote:
>> 
>>  Hmm...Historically-informed must have taken on a different meaning
>>  while I wasn't paying attention.  I should think Luca Pianca and
>   his
>>  Italian compatriots might have a bit more of a secure connection
>   with
>>  Vivaldi's music than the American's you name.  O'Dette recorded
>   this
>>  music with a silly little chirpy mandolino playing with a rather
>   stiff
>>  sounding band.  McFarlane's interpretation is vibrant and lovely
>   but
>>  what we hear in this video with Luca Pianca has everything to do
>   with a
>>  microphone placement that allows the lute to be heard above the
>   rest of
>>  the band, as is certainly the case in the other recordings
>   mentioned.
>>  As far as I can tell, single stringing was sometimes used by the
>   old
>>  ones but Luca Pianca's hand position is definitely
>>  historically-accurate for Vivaldi's era.  The under thumb approach
>>  ceased to exist with the advent of many additional basses, circa
>   1600,
>>  and those who use that hand position in baroque music today are
>>  not using an historically-informed approach.  So unless
>>  historically-informed now has something to do with microphone
>>  placement, I think the video example is compelling and musical.
>> 
>>  RA
>   __
>> 
>>  From: lute-...@cs.dartmouth.edu  on
>   behalf
>>  of Matthew Daillie 
>>  Sent: Monday, October 10, 2016 1:54 PM
>>  To: fournierbru; lute@cs.dartmouth.edu
>>  Subject: [LUTE] Re: Vivaldi lute concerto
>> 
>>>  On 10/10/2016 15:29, fournierbru wrote:
>>> Hello all
>>> 
>>>   I would like your opinions on this interpretation of the Vivaldu
>>  lute
>>>   concerto I found on YouTube.
>>> 
>>>   [1]https://youtu.be/u9m3ghjN0RE
>>  [2][maxresdefault.jpg]
>>  [3]Vivaldi - Lute Concerto in D major, RV 93 - Il Giardino Armonico
>>  youtu.be
>>  Antonio Vivaldi Lute Concerto in D major, RV 93 1 Allegro 2 Largo 3
>>  Allegro Luca Pianca, lute Il Giardino Armonico
>>> 
>>>   BRUNO
>>  Not my cup of tea. He's using what looks like a single strung
>   13-course
>>  liuto forte, very guitar like and not particularly enticing.
>>  Paul O'Dette and Ronn McFarlane have both recorded this work. I
>   suspect
>>  their interpretations are rather more subtle and historically
>   informed.
>>  Best
>>  Matthew
>>  To get on or off this list see list information at
>>  [4]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>>  [5]Frequently Asked Technical Questions about the lute mail list
>>  [1]www.cs.dartmouth.edu
>   [2]Department of Computer Science
>   www.cs.dartmouth.edu
>   Assistant Professor in Machine Learning. We are inviting applications
>   for a tenure-track faculty position at the level of assistant professor
>   in the area of machine ...
>>  Frequently Asked Technical Questions about the lute mail list.
>   getting
>>  on and off the list; How do I get on the lute mail list? How do I
>   get
>>  off the lute mail list?
>> 
>>  --
>> 
>> References
>> 
>>  1. [3]https://youtu.be/u9m3ghjN0RE
>   [4][maxresdefault.jpg]
>   [5]Vivaldi - Lute Concerto in D major, RV 93 - Il Giardino Armonico
>   youtu.be
>   Antonio Vivaldi Lute Concerto in D major, RV 93 1 Allegro 2 Largo 3
>   Allegro Luca Pianca, lute Il Giardino Armonico
>>  2. [6]https://youtu.be/u9m3ghjN0RE
>   [7]YouTube
>   youtu.be
>   and share it all with friends, family, and the world on YouTube.
>>  3. [8]https://youtu.be/u9m3ghjN0RE
>   [9]YouTube
>   youtu.be
>   and share it all with friends, family, and the world on YouTube.
>>  4. [10]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
>   [11]Frequently Asked Technical Questions about the lute mail list
>   www.cs.dartmouth.edu
>   Frequently Asked Technical Questions about the lute mail list. getting
>   on and off the list; How do I get on the lute mail list? How do I get
>   off the lute mail list?
>>  5. [12]http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
> 
>   --
> 
> References
> 
>   1. http://www.cs.dartmouth.edu/
>   2. 

[LUTE] Re: Purcell

[Diego Cantalupi]

sorry: wrong link.
An Evening Hymn is in the Harmonia Sacra by Playford


http://imslp.org/wiki/Harmonia_Sacra_(Playford,_Henry)




Il 27/02/2015 13:03, Diego Cantalupi ha scritto:

you find it here:
http://imslp.org/wiki/Harmonia_Sacra_(Purcell,_Henry)

Diego

Il 27/02/2015 12:39, BENJAMIN NARVEY ha scritto:

Dear All,
Could anybody on the list I wonder send on in a private message the
facsimile of Evening hymn by Purcell (Z. 193)? I can't seem to 
find

it on IMSLPa|..
Many thanks!
Benjamin
--
[1]www.luthiste.com
t +33 (0) 6 71 79 98 98

--

References

1. http://www.luthiste.com/


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[LUTE] Re: Purcell

[Diego Cantalupi]

you find it here:
http://imslp.org/wiki/Harmonia_Sacra_(Purcell,_Henry)

Diego

Il 27/02/2015 12:39, BENJAMIN NARVEY ha scritto:

Dear All,
Could anybody on the list I wonder send on in a private message the
facsimile of Evening hymn by Purcell (Z. 193)? I can't seem to find
it on IMSLPa|..
Many thanks!
Benjamin
--
[1]www.luthiste.com
t +33 (0) 6 71 79 98 98

--

References

1. http://www.luthiste.com/


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[LUTE] new bass strings by Aquila corde

[Diego Cantalupi]

Dear friends,
here you find a short video with the Toccata VII from the IV book by 
Kapsberger.
I play my unhistorical short theorbo (an instrument measuring 70/117) 
that I use when I need to travel by plane.
The known timbric problem caused by the wounded strings (usually V, VI, 
VII fretted and XII, XII and XIV bourdons) is here brilliantly solved by 
the great Mimmo Peruffo (Aquila corde).
The theorbo is strung with new nylgut (the whyte/yellow strings) and a 
new synthetic dark red material for the bass strings.
The video is recorded with two cameras; the audio is untouched and is 
recorded with a pair of Shoeps MK 21 going directly in my Zoom H6. No 
reverb and equalization are added.

The location is my small and dry studio in Cremona.

http://youtu.be/E0F0lvPNuJk



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[LUTE] bass strings

[Diego Cantalupi]

I do hope Mimmo Peruffo will be ready to sell the new strings in June



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[LUTE] Obbligato lute and theorbo

[Diego Cantalupi]

Dear friends,
For a project in the Conservatorio where I teach I'm collecting some arias with 
obbligato lute and theorbo.
At the moment I have all the Bach music, all the Händel, some Vivaldi, a 
cantata by Ferrandini and (the funny) Zandonai.
Do you have any other suggestions?
What I'm looking for is not lute as an obbligato continuo instrument, but as a 
solo instrument (like Bach's Johannespassion).

Greetings,

Diego

Inviato da iPad





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[LUTE] Re: Chitarrone

[Diego Cantalupi]

If you can read Italian, you can find my dissertation about Chitarrone here:

http://www.diegocantalupi.it/tesi.pdf

The first chapter is about ethimology.

Diego

 



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[LUTE] Re: Weird early chitarrone experiment?

[Diego Cantalupi]

you can find a picture here, in my dissertation about chitarrone:


http://www.diegocantalupi.it/tesi.pdf


Diego


Inviato da iPad

Il giorno 25/nov/2011, alle ore 23:37, howard posner howardpos...@ca.rr.com 
ha scritto:

 I'm looking for a picture of an early chitarrone which, instead of an 
 extended neck, had an extended body with two bridges (by one of the 
 Tieffenbruckers, I think).  Can anyone direct me to one?
 
 
 
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[LUTE] Re: Allegro for gallichon

[Diego Cantalupi]

Pietro Prosser, the one in my opinion who best knows Gallichon - Mandora 
repertorie, thinks the same. May be he can explain here something about this 
subject.

Actually I'm playing mandora in 'Le nozze di Figaro' in Potsdam: still quite 
unusuall, but wonderfull effect!

Diego

 Roman, on aesthetico-pataphysical grounds thinks that this is not 
 Brescianello but Schiffelholz. He is not alone. Terrell Stone has evidently 
 made a recording of all this and he too thinks it is Schiffelholz.
 



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[LUTE] RV93 - here it is!

[Diego Cantalupi]

   [1]www.diegocantalupi.it/pdf/rv93.pdf
   --


References

   1. http://www.diegocantalupi.it/pdf/rv93.pdf


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[LUTE] Re: Pittoni's theorbo?

[Diego Cantalupi]

From: Martyn Hodgson [EMAIL PROTECTED]
In short, if you can you should just detune the first course and only 
detune the next if the second string is likely to break.


So why making a double reentrant tuning on a tiorbino?


Diego 






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Re: lute music in paintings

[Diego Cantalupi]

I've just recorded a new cd titled Il Liuto di Caravaggio: Lute music in 
Rome at the time of Caravaggio. In the booklet of the cd I wrote some 
informations about this painting.
It's possible to find a description of the cd here: 
www.diegocantalupi.it/caravaggio
And in the next days it will be possible to buy it from here: 
www.tesorimusicali.it

Here are some lines from the booklet:

«Among aristocracy musical talent was highly thought of and in this respect 
cardinal Del Monte had an outstanding role: Ferdinando de' Medici and the 
cardinal himself were passionate worshippers of music, and they were both in 
touch with the best composers and performers of that time. They shared this 
passion with cardinal Pietro Aldobrandini, the Pope's nephew, and with 
cardinal Alessandro Montalto. Cardinal Del Monte was also an amateur guitar 
player and owned a collection of musical instruments, on show in his music 
room. Surely these were the instruments Caravaggio used as models for his 
Concert of youngsters. This picture, seen at a friend's home, might have 
persuaded Vincenzo Giustiniani - a rich and noble art connoisseur - to ask 
Caravaggio to paint one for him on a similar musical subject: Lute player, 
currently on show at the Hermitage in St. Petersburg.
The painting had great success, for soon afterwards Caravaggio painted a 
similar Lute player for cardinal Del Monte, who had it up along with the 
Concert of youngsters in the music room in Palazzo Madama. In both paintings 
the lute had  a prominent position, being considered the noblest and most 
refined of instruments. Even Vincenzo Galilei, Galileo's father and great 
theorist of this instrument, had described its ability to express a huge 
variety of affections and feelings.
The great precision used by Caravaggio whilst painting the musical 
instruments and papers allows us to identify some of the passages that he 
copied into the two pictures owned by cardinal Del Monte. In Concert of 
youngsters, though the bad state of preservation makes it difficult to read 
the score, it has been possible to recognise a madrigal by Jacques Arcadelt 
(1505-1568): a Flemish composer who started working in Rome in 1539, first 
at the Cappella Giulia and then as a master at the Sistine Chapel.
  Another four of Arcadelt's madrigals are clearly painted in the portrait 
of a lute player, made for Vincenzo Giustiniani; while in Del Monte's 
version we can see two madrigals printed in the same First Book by Arcadelt, 
but written by two composers belonging to the same period: the Flemish 
Jaques de Berchem and the Florentine Francesco de Layolle. The latter was an 
organist and a composer and, among other things, Benvenuto Cellini's music 
teacher.» 



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Re: Hercules, Catholic mass, and vihuelas.

[Diego Cantalupi]

The cantus firmus used for this mass is derived by matching solmization
syllables to the syllables of the name of the man for whom the mass was
being written, Hercules dux Ferrariae.
The solmization syllables which arise are Re, Ut, Re, Ut, Re, Fa, Mi, Re or
in pitch names D, C, D, C, D, F, E, D

Diego




- Original Message - 
From: Paolo Declich [EMAIL PROTECTED]
To: [EMAIL PROTECTED]; Herbert Ward [EMAIL PROTECTED]
Sent: Wednesday, September 01, 2004 12:04 PM
Subject: Re: Hercules, Catholic mass, and vihuelas.


My (humble) answers

1 Hercules was the latin word in the Josquin' missa

2 The missa was written in honour of Ercole (Hercules) d'Este, one of the
most magnificent patrons of the Italian Renaissance

PD

Stringing a theorbo

[Diego Cantalupi]

Martyn wrote:

   - Castaldi can be played on a large(ish) instrument eg my A theorbo
at 90cm fingered string length;

This sounds quite strange: I've recorded the Castaldi book some years ago;
my theorbo has a diapason of  81cm, and my hands are quite large. I think
that it's rather impossible to play the music of Castaldi on a lager
instrument, if you want to play the all the notes in the position they were
written.
The same thing happens in the music of Gianoncelli, I'm studying at the
moment. I'm shure that he used a very small archlute. On the other hand, if
I'm not wrong (I've not the facsimile under my eyes), Valentini gives an A
tune for the archlut, that means small instrument; true is that Valentini
was from Rome where the pith was very low (A= 390 Hz), and Gianoncelli in
Venice, where the A was high (A= 462 Hz).

About the second string of the theorbo, I think that some elementary
knowledge of the physiscs of the string can help (I've illustrated this
passages in my dissertation about the invention of the early theorbo) .
Infact we know that exists a coefficient called 'breaking index' (I don't
know the exact english terminology) that puts in relation the vibrating
lenth of the string and the pitch, depending of the material of the string.
This coefficient is 248 for the gut (248 Hz. x m.).  With this number we can
calculate the maximum pitch that a gut sting can reach before breaking,
despite its diameter.
If we imagine a vibrating lenght of 80 cm (= 0.8 m), we can have:

   Max. frequence: 248/0.8 = 310 Hz

310 Hz is a little lower than an E at 440 Hz  (e = 329.63 Hz), that means
that the string cannot reach an e, but breacks before. If we assume a lower
pitch (i.e. 415 Hz.) or shorter diapason (i.e. 78 cm.), we can have an high
e on the second string (single or doubled with a lower one).

Ending I think that this way of stringing the theorbo with the doubled
second sting, in octave, is of foundamental importance for playing the
Sonate by Pittoni.

Diego Cantalupi