Programs
Andrew currently performs two solo programs. The first is titled "Fourteen and Six" which references the fourteen strings of the theorbo and the six strings of the guitar. The first half of this program features solo theorbo works and the second half features some of Andrew's favorite classical guitar works. The second program is titled "Giant of the Baroque". This program is all solo theorbo and takes the listener on a chronological journey through the evolution of solo theorbo repertoire in the 17th century.
Fourteen and Six
The theorbo is the largest of the lute family of instruments and was developed in the very late 16th century in Florence, Italy. A behemoth in size and sound, the theorbo quickly gained popularity as an accompaniment instrument where it excelled in playing continuo in the earliest of operas and for chamber groups and solo voice. Throughout the entirety of the baroque era, the theorbo flourished in its accompanying role but a mere sliver of solo works for the instrument survive when compared to what can be played on the instrument for accompanying purposes. However, the works that do survive are generally of very high quality. Today’s program will feature solo theorbo works by the Italian and French greats of the theorbo, Giovanni Girolamo Kapsberger (1580-1651) and Robert de Visée (1655-1732)
The guitar works in this program feature the Viennese Romantic composer Johann Kaspar Mertz and two contemporary composers, Olga Amelkina-Vera and Phillip Houghton. Variations mignonnes by Mertz is from his Bardenklänge, Op. 13 from 1847. Mertz's Bardenklänge, Op. 13 is a collection of pieces based on folk and popular songs of 19th century Vienna and is also his largest collection of works.
Western Vista by Olga Amelkina-Vera is a beautiful portrayal of the American West and the larger-than-life image of the 19th century cowboy. In its bittersweet opening movement, we hear the tune of the famous cowboy song “Bury Me Not On The Lone Prairie”. This is followed by a rousing second movement based on the idea of a cowboy riding a bucking bronco.
The final work in this program is OPHELIA...a haunted sonata by the late Australian composer Phillip Houghton. This piece is centered around the tragic Shakespearean character Ophelia from the play Hamlet. Her descent into madness and her untimely death is outlined in the titles of the movements of the piece. Musically, Houghton employs an altered tuning of the guitar to create a dark sonority that complements the somber nature of the piece. This piece is incredibly captivating and unrelentingly pulls at one’s heartstrings.
Giant of the Baroque
The theorbo is the largest of the lute family of instruments and was developed in the very late 16th century in Florence, Italy. A giant in size and sound, the theorbo quickly gained popularity as an accompaniment instrument where it excelled playing continuo in the earliest of operas and chamber groups and in accompanying solo voice. Throughout the entirety of the baroque era, the theorbo flourished in its accompanying role but a mere sliver of solo works for the instrument survive. However, there are three composers that stand out in their quality of solo music for the instrument and in the amount of their solo theorbo works that do survive. Those three composers are Alessandro Piccinini (1566-1638), Giovanni Girolamo Kapsberger (1580-1651), and Robert de Visée (1655-1732).
The Piccinini and Kapsberger works in this program exemplify the early 17th century Italian style through the florid Toccata V and lively dances such as the ciacconas. Also included is a passacaglia which features a repeating bass pattern referred to as a “lament bass” due to its use in opera to accompany sorrow and loss.
The evolution of solo theorbo music from the first half of the 17th century to the end of the 17th century is demonstrated in the Robert de Visée works featured in this program. De Visée was a French composer of the late 17th century into the early 18th century. He was a court musician for Louis XIV and wrote in the typical French dance suite style that is more familiar today than the dances found in Piccinini and Kapsberger works. De Visée’s works are some of the finest solo theorbo works and it is a divine offering of the Baroque repertoire.
