Late sixteenth-century musicians and poets spent much time attempting to re-make contemporary culture in the image of the Ancients: the intellectual-sounding chitarrone was one of the more unlikely fruits of this movement. But with its long second neck and eccentric tuning it soon acquired a reputation for comedy, and was nicknamed tiorba, (an old man’s hurdy gurdy), and in England, ”theorbo”. Player-composers explored experimental harmonies and, flowing tunes underpinned by its deep bass strings. Today’s composers are taking the instrument into new imaginative terrain, exploring its twin identities.

Her programme will feature music from the early 17th century by Piccinini, Kapsberger and de Visée and
the early 21st century by James MacMillan, Nico Muhly (world premiere) and me.

The development of the lute into the long-necked theorbo created an instrument with a split personality, having a delicacy and expressive depth to the sound but an unwieldy appearance that was mocked. Elizabeth Kenny celebrates these split identities, with beautiful melodies supported by long, resonant bass strings, but just a hint of the comic as well.

Mellifluous French music sits alongside eccentric Italian improvisation, and old works alongside new – a haunting 21st-century motet, a funk/ground bass-influenced fantasy, and a world premiere which exploits the unconventional tuning system and expressive possibilities of the instrument to powerful effect.

Mendelssohn - Symphony No. 5
Faure - Masques et bergamasques
Bizet- Petite Suite (conducted by Serena Evans)