The Theorbo in France

Matthew Jones, Berlin 2016

c.1610

In Paris, Jacques Mauduit was responsible for the concerts at the Académie until 1610 (it closed down in
1612 to 1623) and then created large public musical spectacles under the patronage of Louis XIII
employing forces of 80 to 120 dancers and musicians – voices, violes and exotic instruments – bawdy
guitars, military flutes, and newly created theorbo and pandora amongst them.

In a letter to a fellow turn-of-the-century Hugenot poet Odet de la Noue, Agrippa de Aubigné writes of
one of these events that he saw in Paris:

“un excellent consert de guitare, de douze viols, quatre espinets, quatre luts, deux pandores et deux
tuorbes”

• A Study of Instrumental Ensemble Practice in Seventeenth-Century FranceAlbert Cohen

TheGalpin Society Journal Vol.15, (Mar., 1962), pp. 3-17 Published by: Galpin Society
http://www.jstor.org/stable/842034

c.1636

The earliest of the “french” theorbist we can document is Nicolas Hotman (c. 1610 – 1663). He came
either from Germany or Brussels and moved to Paris in around 1626. Hotman was expert on the lute,
theorbo, and the viola da gamba and was the teacher of violist Monsieur de Sainte-Colombe.

1637

Marin Mersenne Seconde Partie de l’Harmonie Universelle: Livre septiesme des instrumens (Paris, 1637),
P 77: “Page 45 & 46 &c j'ay nomme la seconde figure à main droit Tuorbe, que les Italiens appellent
Arciliuto, & qui doit plustost estre appellé Luth a double manche, parce qu'outre que le Tiorbe est beacoup
plus grand, il n'a qu'une chorde à chaque rang, & n'y a que trente ou quarante ans que le Bardella l’inuenta
à Florence.”

“I named ...the figure [below] Tuorbe, that the italians call Arciliuto, and that it is actually called the
double 'handled' lute, because in difference the Tuorbe is much larger, has only 1 string per course and was
only invented 30 or 40 years ago by Bardella in florence.”
Mersenne 1637, below, presenting the tuning of the Italian theorbo. It is highly plausible that Mersenne
received this information from Kapsperger, through Mersenne´s friend Jacques Bouchard, who wrote
Mersenne explaining Kapsperger´s preferred tunings for different instrument, among them the theorbo.

• Victor Coelho´s article in JLSA XVI, 1983, pp. 129-130.

c.1640-50

Hotteman (Hotman) is credited as the inventor of the theorbo in france (Brossard 1703 and later french
dictionaries). To the extent that the later dictionaries credit Hotman as the inventor of the reentrant
theorbo in A in France, even claiming that the theorbo spread from France to Italy! we can be sure that the
2RE theorbo in A was played in France from this time on.

1647

Liugi Rossi's Orfeo was staged in a spectacular production in Paris accompanied by a continuo group of “2
chitarre, 2 liuti, 4 tiorbe e 4 cimbali”

• The baroque guitar as an accompaniment instrument for song, dance and theatre Miles, Natasha
Frances (2011), M.Phil. thesis, University of Birmingham. http://etheses.bham.ac.uk/1600/

The earliest reference to the theorbe as the prefered accompaniment for song in Paris is in the story of
Constantijn Huygens, who in 1647 sent the manuscript of his Pathodia Sacra et Profana to the printer
Ballard in Paris with a tablature accompaniment for theorbo. However, Ballard persuaded Huygens to
replace this with a figured bass also playable on the clavessin.

1649

Allegory of Music
Laurent de La Hyre (Paris 1606–1656 Paris)

http://www.metmuseum.org/collection/the-collection-online/search/436836

1656

Parisian entertainments in 1656:

"Le soir, il fut magnifiquement traité a souper, par le Mareschal de Grammont: où se trouvérent aussi des
Ducs de Guyse & d'Amville, avec divers autres Seigneurs: qui surent également charmez, tant par la rareté,
le superbe apprest & le bel ordre des viandes, que par le delicieux concert de Violons & de Hauts bois, qui
les entretint pendant qu'ils demeurérét à table, & fut suivi d'un autre non moins agréable, de Theorbes &
de voix..."
"& en fin par les Concerts des plus belles voix, accompagnées de Violes, Théorbes & autres Instruments de
Musique : cet illustre Conviant n'ayant rien voulu épargner pour bien recevoir Leurs Majestez, & leur
donner de plus éclatans resmoign de sa joye."

http://gallica.bnf.fr/ark:/12148/bpt6k64620525/f234.image.langEN

Recvil Des Gazettes Novvelles Ordinaire et Extraordinares, Relations et recits des choses avenves tant en ce
Royavme qu'ailleurs, pendant l'année mil six cent cinquante-fix. Paris 1656

A letter nominating Germain Pinel (b early 1600s; d Paris October 1661) for la musique de la chambre
January 7th 1656

"Le Roy...considérant la perfection que Germain Pinet s’est acquise à toucher du luth, et qui avait donné
sujet à S. M. de la choisir pour lui en montrer la méthode, le plaisir de l’entendre et l’estime qu’elle a pour
lui, ayant depuis lors considéré qu’il lui était nécessaire pour le divertir en particulier et pour remplir les
concerts de la musique de la chambre, S. M. a retenu et retient le dit sieur Pinet, pour son joueur de luth et
de théorbe, et pour le server désormais avec l’un et l’autre de ces instruments, tant dans les concerts de la
musique de sa chamber, que dans ses récréations particulières..."

"The King...considering the perfection that Germain Pinet achieved playing the lute, and which caused [Sa
Majesté] to choose him as a teacher, the pleasure of hearing him and the esteem which he has for him,
having since considered that it was necessary that he was needed for his private entertainment in particular
and to fill the concerts of the music of the chamber, [Sa Majesté] reserved and retains said Mr Pinet, for his
lute and theorbo playing, and to serve from then on with one or the other of these instruments, in the
concerts of the music of his chamber, in his private entertainment..."

http://mro.massey.ac.nz/handle/10179/914

In Lully’s 1656 Ballet de Psyché

http://gallica.bnf.fr/ark:/12148/bpt6k856403v/f14.image.r=1656%20Ballet%20de%20Psych
%C3%A9.langEN

1657-8

L'art poétique du Sr Colletet 1657-1658, Guillaume Colletet (1596-1659)

http://gallica.bnf.fr/ark:/12148/bpt6k6505783n/f16.image.r=%20.langEN

1658

A Simphonie in Lully's Ballet royal d'Alcidiane is performed with 2 Clavessins, 4 Tuorbes and 5 Violles
http://gallica.bnf.fr/ark:/12148/bpt6k72466x.r=Lully%2C+Jean-Baptiste.langEN

1660

Continuo tutor for the théorbe published in 1660 by Nicolas Fleury.

http://imslp.org/wiki/Methode_pour_apprendre_facilement_a_toucher_le_theorbe_sur_la_basse-continu
%C3%AB_%28Fleury,_Nicolas%29

1661

Hotman was appointed to the Musique du Chambre du Roi

1662

Angelo Michele Bartolotti performs in Paris in Cavalli's Ercole Amante for the marriage of Louis IV to the
Infanta Maria Therese.

1663

Hotman dies.

1664

Bartolotti is listed amongst the virtuose italiens du Cabinet de Sa Majesté.

The roman composer, lutenist and theorbist Leo Colista (1629 – 1680) came to Paris with the support of
Cardinal Flavio Chigi and performed at Versailles.

Amitiez, amours et amourettes . Par monsieur Le Pays. Seconde édition... augmentée Paris 1664

René Le Pays (1634-1690)

"Il néstoit point necesssaire ny vostre Theorbe, ny vostre voix pour charmer mes oreilles : helas ! j'estois
déja pris par les yeux."
http://gallica.bnf.fr/ark:/12148/bpt6k62765696.image.r=+.f251.langEN

The players in an entertainment listed in "Les plaisirs de l'isle enchantée , course de bague : collation ornée
de machines ; comédie, meslée de danse et de musique, ballet du palais d'Alcine ; feu d'artifice : et autres
festes galantes et magnifiques, faites par le Roy à Versailles, le VII. may M.DC.LXIV et continuées
plusieurs autres jours"

On the Theorbo - La Barre le cadet, Tissu, Le Moine

http://gallica.bnf.fr/ark:/12148/bpt6k1118230.image.r=+.f78.langEN

1666

René Ouvard, the Maitre de Musique de la Sainte-Chapelle du Palais, is high in his praise for Bartolotti:

“Sig. Angelo Michel [is] without doubt the most skillful upon the theorbo, especially for playing upon a
continued-bass, that you can find in France and in Italy”

In this year Bartolotti attempts to publish his Continuo Tutor for the théorbe, but Lully dismisses the
italian musicians from court, however Bartolotti was immediately taken up in the employ of the Prince du
Conde.

1668

Betrand de Bacilly the theorbo is the accompaniment instrument of choice for Airs de Cour in his
Remarques curieuses sur l’art de bien chanter Paris.
Cesti's opera “Il pomo d'oro” was lavishly performed for the birthday of Empress Magherite in a new
theater especially designed. 5 Acts with Ballets as intermédie and elaborate stage machines. The orchestra
consisted of 6 violins, 12 viols (alto, tenor, bass), gravicembalo alternating with graviorgano, lutes and
theorboes.

1669

Royal permission to be granted for the publication of Bartolomi's (Bartolotti) theorbo continuo tutor.
http://imslp.org/wiki/Table_pour_apprendre_facilement_%C3%A0_toucher_le_th
%C3%A9orbe_sur_la_basse-continu%C3%AB_%28Bartolotti,_Angelo_Michele%29

1670

In Molière (1622-1673) - Le bourgeois gentilhomme Paris 1670

"Il vous faudra trois voix : un dessus, une haute contre et une basse, qui seront accompagnés d'une basse de
viole, d'un téorbe et d'un clavecin pour les basses continues, avec deux dessus de violon pour jouer les
ritornelles."
http://gallica.bnf.fr/ark:/12148/bpt6k5651760t.r=Th%C3%A9orbe.langEN

http://imslp.org/wiki/Le_bourgeois_gentilhomme,_LWV_43_%28Lully,_Jean-Baptiste%29

1671

Theorbist Laurent Dupré is appointed to the ordinaire de la musique du roi

1675
The players in Thesée 1675
http://gallica.bnf.fr/ark:/12148/bpt6k55309731/f90.image.r=th%C3%A9orbe.langEN

At least three theorbists are in the band - la Barre du Cadet, Pinel, Grenerin
Circé , tragedie . Ornée de machines, de changemens de théatre, & de musique . Representée par la Troupe
du Roy , établie au fauxbourg Saint-Germain Paris 1675

Marc Antoine Charpentier 1643-1704

1676

Lully´s Atys from 1676, featuring the same flute band as in Thesée, 1675, and also the same theorbo
players: Dupré and Grenerin.

1682

Grenerin's theorbo continuo tutor is published

1686

A table on how to play continuo "sur le Theorbe, sur le Lut, & sur la Guitarre" is available "chez M
Fleury"

http://gallica.bnf.fr/ark:/12148/bpt6k6258626v/f193.image.r=%20.langEN

1689

Frontispice pour les "Basses continues composées par M. Marais"

http://gallica.bnf.fr/ark:/12148/btv1b84349200/f1.zoom.r=Frontispice%20pour%20les

1690

Delair's continuo treatise explicitly confirms the reentrant tuning of the theorbo

"Sur le Theorbe il n à point de clef de dessus dautant que cet instrument n´a pas asses d´etendue en haut
pour fournir à l´etendue des dites clefs, mais on suplée à ce defaut prenant les notes du dessus un octave
plus bas."

"On the Theorbe there aren´t any dessus clefs because this instrument doesn´t have enough high tessitura
to play the pitches of the mentioned clefs, but one can solve this defect playing the dessus notes one octave
lower."
c.1690s

A description of french theorboes in the Talbot ms

1692

François Pinel chanteur and théorbe ordinaire de la chambre 1692, 1694, 1697, 1698, 1699, 1702, 1708

He replaced a father and son duo by the name "Tissu" who were taille singers in the chamber and the
chapel, as well as performers and teachers of the lute. "Tissu" is listed amongst the theorbo players in
entertainments in 1664.

1699

Saizenay's 1699 manuscript of the lute and theorbo music of Robert de Visée

http://culture.besancon.fr/ark:/48565/a011284026247S0XA9H/1/1/

1701

Marais preface to his 2nd book for the Viole

The tunings of the instruments in 1701, the theorbo in A 14 courses 2 string reentrant in the Histoire de
l'Académie royale des sciences ... avec les mémoires de mathématique & de physique... tirez des registres de
cette Académie
http://gallica.bnf.fr/ark:/12148/bpt6k3503q/f547.image.r=M%C3%A9moires%20de%20l%27Acad
%C3%A9mie%20Royale%20des%20Sciences%201701.langEN

1703

Brossard's Dictionary

1711

The cover page to Marais third book of Pieces de Violes, 1711, we see a french single strung theorbo with
6 + 8 mirror-inverted
http://imslp.org/wiki/Pi%C3%A8ces_de_viole_%28Marais,_Marin%29

1716

Campion - the guitar can play non-inverted harmonies in the dessus, unlike the theorbo

"Qu'on ne prévienne point sans raison contre la Guitare. J'avoüerai avec tout le monde qu'elle n'est pas
aussi forte d'harmonie que le Clavecin, ny le Théorbe. Cependant je la croy suffisante pour accompagner
une voix: au moins est-ce la justice qu'on luy a rendu, quand on me l'a entendu toucher; pour ce qui est des
accords, je ne luy en connois point d'impossibles, elle a par dessus les autres la facilité du transport et du
toucher, et par-dessus le Théorbe, les Parties d'accompagnement non renversées, par consequent plus
chantantes."

http://www.chmtl.indiana.edu/tfm/18th/CAMTRA_TEXT.html

Robert de Visée publishes his Pieces de Theorbe et du Luth Mises en Partition, Dessus et Basse Paris
1716

http://imslp.org/wiki/Pi%C3%A8ces_de_th%C3%A9orbe_et_de_luth_%28Vis%C3%A9e,_Robert_de
%29
1717

Watteau "The Artful Girl" 1717

an undated Watteau
1718

The theorbo à la Maltot - a theorbo with 8 courses on the fingerboard which Campion describes in 1730 as
being necessary for the continuo setup in 1730 (for the low chromatic tones G# and F#). This painting by
Watteau shows a theorbo with 4 pegs on one side of the fb pegbox (thus most likely 8 fb strings) and only
6 diapasons.
http://commons.wikimedia.org/wiki/File:Antoine_Watteau_-_Les_Charmes_de_la_Vie_
%28The_Music_Party%29_-_WGA25459.jpg

c.1720

An undated engraving by Elisabeth Claire Tardieu (1731-1773 ) of a painting by Jean François de Troy
(1679-1752) called L' Aimable Accord (Pleasant Harmony)
1730

Campion describes the "Théorbe à la Maltot", a theorbo with 8 fingerboard strings, allowing fretted low
G# and F#, for accompaniment
1740

Réflexions critiques sur la poésie et sur la peinture Paris 1740

Jean-Baptiste Dubos 1670-1742

http://gallica.bnf.fr/ark:/12148/bpt6k6544468q.image.r=+.f186.langEN

1752
Dictionnaire portatif des beaux-arts, ou Abrégé de ce qui concerne l'architecture, la sculpture, la peinture,
la gravure, la poésie et la musique ... par M. L** [Lacombe],... 1752
Lacombe, Jacques (1724-1811)

1777
Dictionnaire de l'Académie françoise 1777

Composers worked with the harpsichord or theorbo

To play "brillant & delicat" on the lute or theorbo is to play like pearls
The theorbo has single strings, is used for solo pieces and is very good for accompanying the voice.

1780

From Essai sur la Musique, Paris 1780

There was an instrument for solo pieces (tuned a fourth higher).

A bigger theorbo, more difficult to play, was used for accompagnement.
One of its characteristics are the charming inverted harmonies due to its tuning.
It was played with 6 strings on the fingerboard.
Chromatic bass notes can easily be transposed up an octave instead of having to re-tune the basses.
The treble register is of the brilliant sort, the sound of the diapasons are described as "noble and majestic".
The theorbo is without contradiction the most beautiful of the plucked instruments.
We claim that Hotteman invented the theorbo around 150 years ago.
In the time of Lully there were no other basses d'accompagnement.
Commentary

In 1780 the Théorbe is described as being, without contradiction, the most beautiful of all the plucked
instruments. The instrument has 14 strings, 6 fingerboard strings, “brilliant in the treble” and 8 “noble and
magestic” diapasons.

Why “without contradiction”?

The size and resonance necessary to create a fuller sound render the tuning of the theorbo contradictory.
The reentrant tuning creates effects not found in the other plucked continuo instruments: harpsichord,
harp, lutes and archlutes, guitars etc.

The contradiction is harmonic, for when the bass goes high the theorbo must play the dessus one octave
lower, as Delair tells us in 1690. This is the reason for the creation of the inverted harmonies of the
theorbo that in 1780 are described as “charming”.

This idiosyncrasy of the theorbo is confirmed by Campion, who in 1716 championed the guitar because it
can play the non-inverted harmonies that the theorbo cannot.

Delair and all the earlier french theorbo tutors show how to play the bass at 8ft with rare 16th use (similar
to Corradi in Venice 1616). This practice inevitably results in harmony below the bassline when it goes
high. The bassline for late 17th century and 18th century french music is often high.

This “charming” practice of playing the bass at 8ft pitch and rendering the harmony inverted would be
suitable for music from the time of Lully, for as it was said in 1780 – in the time of Lully, there were “no
other basses d'accompagnement”.

Matthew Jones, Berlin 19.11.14