Piccinini and the Theorbo

The theorbo (sometimes referred to as a chitarrone) developed in the later Renaissance as a suitable means for accompanying the new genre of song. It differs from the basic setup of the lute, which until then had been the preferred instrument for accompaniment, in that it adds two courses of strings tuned an octave below the basic register. This helps amplify the support, adding bass notes that create a fuller platform upon which the solo voice can build. Quickly, however, composers began to write music for the theorbo itself as a solo instrument, and Alessandro Piccinini (1566-1638) commented in his 1623 collection of theorbo pieces that “many virtuoso players . . . started to find ways of making the audience enjoy solo playing.” Piccinini’s remark is significant for two reasons: first, it mentions the presence of an “audience”, and we get the impression that at least some hearers were attending to this music more intently than as mere background diversion; and second, there seems to have been a conscious effort to craft a solo theorbo repertoire that people would enjoy. Piccinini’s works bear out this new development. Born into a family of instrument makers and players established in Bologna, Allessandro was coveted by the resident court. However, he took employment for many years with the d’Este family at Ferrara, where he helped to refine the theorbo’s role as both accompanying and solo part.

(c) Jason Stell