La Nébuleuse / Gabriel Rignol

The theorbo is well known as an accompaniment or solo instrument, but some Italian composers have experimented with writing pieces for theorbo accompanied in chamber music by continuo instruments (harp, organ and viola da gamba). The result is something very special, with a strong predominance of harmony, energy and rhythm over melody. The first composer to embark on this exploration was H.H. Kapsbgerger, with his recently rediscovered Libro Terzo (Rome, 1626), in which he wrote Toccata, Gaillardes and Courantes, as well as two diminished madrigals for theorbo and continuo (the only source of this style). Then there is his Libre Quarto (Rome, 1640), with toccatas, but also featuring pieces on obstinate basses (Passacailles, Chaconnes, Capona, etc.). The last person to take an interest in this style was Giovanni Pittoni, with his Opus 1 (Bologna 1669) of Sonata da Chiesa, and his Opus 2 of Sonata da camera, which are in a style with the beginnings of Corelli, which differs completely from Kapsberger.

Gabriel Rignol, theorbo & direction
Riho Ishikawa, organ
Pernelle Marzorati, harp
Manon Papasergio, viola and lirone

Pittoni
Sonata 2 Op 1 

Kapsberger
Toccata 4, Gaillarda 1, Corrente 1, Com esser Può passeggiato

Pittoni
Sonata 1 Op 1 

Kapsberger
Toccata 7, Ancidetemi pur passeggiato, Passacaglia

Pittoni
Sonata 9 Op 2

Kapsberger
Toccata 2, Corrente 2

Piccinini
Partite sopra l'alemana

Kapsberger
Capona, Sarabanda & Ciaconna