The tonal power of the theorbo comes from its dramatically long scale length. As detailed in my article here, the length of strings greatly influences their tonal power, which explains why grand pianos sound so much fuller and more robust than uprights. In the case of the theorbo, the extended neck structure offers the player an intense bass resonance that, while not exactly rivaling that of the piano, is certainly unique among acoustic stringed instruments.
With a much smaller soundboard than that of the piano, the fact that this 16th-century instrument can produce such intense bass tones and crystalline highs, and yet remain as light and portable as it is, constitutes a marvel in the art of luthiery. Here’s a beautifully produced video by one of today’s most prominent lutenists, Jonas Nordberg.
Swedish lutenist Jonas Nordberg performs the Prélude and Allemande from the Suite in A minor for theorbo by Robert de Visée.
de Visée was a prominent composer and lute player working at the court of Louis XIV in France. His solo repertoire for theorbo and baroque guitar has survived as some of the greatest pieces for the instruments.
Jonas Nordberg has established himself as one of the world’s most interesting lutenists, praised by critics for his sensitive, colorful musicianship. A versatile musician performing a wide range of styles and repertoire, he is in high demand both as a soloist and chamber musician.
Recorded in Vätö Church, Sweden, 9/6-2010.
Produced by Ornemark http://www.ornemark.se
