The lute and theorbo

Lute

The European lute derives both in name and form from the Arab instrument known as the Ud, which means literally the wood. The Arab ud was introduced into Europe by the Moors during their conquest and occupation of Spain (from 711 to 1492). (In our Arabian Night programme, we explored some music from the Spanish Moorish tradition.)

During the Renaissance, and into the early baroque period, the lute held the highest respect of all musical instruments. The repertoire for this courtly instrument is vast. Delicacy, expressiveness and nuance of performance were made possible when the use of a plectrum to pluck the strings was replaced by use of the fingers. The lute was an ideal accompaniment for voice and other soft instruments, and the most eloquent of all solo instruments. In paintings , and other art works the lute is often associated with Apollo, angels, or Orpheus, and it is often mentioned at climactic points in tragedies.

Theorbo

Invented by the Florentine Antonio Naldi in the late 16th c., the theorbo was longer than the conventional lute and had a separate nut and pegbox for its extra set of unstopped bass strings. This extra long set of strings enabled the theorbo to play very resonant bass notes, so making it an ideal accompanying instrument in the baroque era

Longer than the lute, with its extra set of long bass strings and pegbox, this new instrument was a cause for concern when first introduced to England in 1605. Remembering the recent activities of Guy Fawkes, the instrument was confiscated by the customs who believed it to be a device to kill the King!

The pegbox for the stopped strings of a theorbo is nearly aligned with the neck, not bent back sharply as on a lute