theorbo


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Related to theorbo: Archlute, Chitarrone

the·or·bo

 (thē-ôr′bō)
n. pl. the·or·bos
A large lute with a long neck having two sets of pegs, one set above and somewhat to the side of the other to accommodate a set of bass strings, used in the 1600s and early 1700s.

[French théorbe, from Italian tiorba, of unknown origin.]

theorbo

(θɪˈɔːbəʊ)
n, pl -bos
(Instruments) music an obsolete form of the lute, having two necks, one above the other, the second neck carrying a set of unstopped sympathetic bass strings
[C17: from Italian teorba, probably from Venetian, variant of tuorba travelling bag, ultimately from Turkish torba bag]
theˈorbist n
Translations
chitarrone
Mentioned in ?
References in periodicals archive ?
With his own ensemble, Justice has performed the continuo on a keyboard instrument with or without a bowed cello or bass viol, but he also has used the theorbo or other instruments to add interest to the songs.
DiDonato, who looked like a Baroque rock star with her short, punk hairstyle and crimson Vivienne Westwood gown, was accompanied by Il Pomo d'Oro orchestra, a 16-member ensemble from Italy that plays period Baroque instruments including the harpsichord and theorbo, a type of lute.
Conductor Julian Wachner, using much-reduced forces supplemented by a tall theorbo, fused everything together with buoyant propulsion.
There were many highlights as the richness of the full choir was contrasted endlessly with the agility and energy of overlapping solo voices and the many instrumental interludes from the small accompanying consort of two violins, cello, organ and a gently pattering theorbo.
The petit motets are intimate works that were usually for one, two, three, or, rarely, four voices (male, female, or mixed) with accompaniment of two violins, keyboard, and a bass stringed instrument like a cello, viola da gamba, and often a flute, theorbo or oboc.
A theorbo is an obselete form of which musical instrument?
I spied a harpsichord nestling in the pit and there was also a Theorbo (a base Lute, apparently).
In 1707, for example, the coro was made up of thirteen active vocalists, (five sopranos, four contraltos, three tenors, and a bass), and sixteen instrumentalists (five first-violinists, two violists, four cellists, one doublebass player, one theorbo (16) and three organists) (Baldauf-Berdes 236).
Of particular interest is Batschmann's discussion of images of artists as musicians, from the famous group of music-making Venetian painters found in Veronese's Marriage Feast at Cana to a lesser-known engraving by Domenico Gandini, an example of nineteenth-century historicism that depicts Albrecht Duter in the company of Giorgione, who plucks a theorbo.
The accompanying ensemble consisted of Suzanne Stumpf, traverso (forerunner of the flute); Christina Day Martinson and Hilary Walther Cumming, violins; Daniel Ryan, cello; Olav Chris Henriksen, Baroque guitar and theorbo, Nancy Hurrell, Spanish harp, and Michael Bahmann, harpsichord.
The group, led by Merseyside-born violinist Adrian Chandler, comprised cellist Gareth Deats, harpsichordist Joseph McHardy and theorbo player Eligio Quinteiro.