Theorbo

Jonatan Bougt

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About Jonatan

"in the dramatic Toccata, Bougt impressed with great dexterity, quick shifts and sharp emotional flings." – Uppsala Nya Tidning –
Theorbo
London
Public liability insurance of £10 million

Swedish guitarist and theorbo player Jonatan Bougt is a recent graduate from the Master of Historical Performance at the Royal College of Music (RCM), London where he studied with Jakob Lindberg as an RCM Scholar supported by the Musician’s Company Lambert Studentship. He also holds a First Class Bachelor of Music (Honours) from the RCM having studied for Carlos Bonell and Chris Stell. Jonatan is the first prize winner of the RCM Guitar Prize 2017 and the RCM Historical Performance Competition 2019, having received The Century Fund Prize and The Richard III Prize. In the past year, Jonatan has been selected to the young artist schemes Britten Pears Young Artist Programme, the BREMF Live! 2018/19 and Handel House Talent 2019/20. Other noteworthy awards include the 1st Prize in the Jörgen Rörby Competition (2014) of the Swedish Guitar & Lute Society and the 1st Prize in the Young Talents Competition of Uppsala International Guitar Festival (2013). Jonatan has performed in venues such as the Royal Festival Hall, Queen’s Gallery, Amaryllis Flemming Concert Hall, Britten Theatre, Kings Place, Snape Maltings Concert Hall (UK), Stockholm Concert Hall and Uppsala Konsert&Kongress Concert Hall (Sweden), Große Universitätsaula Salzburg (Austria) and Centro Cultural Justicia Federal, (Brazil). In 2016, Jonatan performed the UK premiere of Chaya Czernowin's 'White Wind Waiting' with the RCM Symphony Orchestra under the baton of Johannes Harneit. In 2012, he was awarded a scholarship by the City of Stockholm and the Music Conservatoire of Espirito Santo (FAMES) to give recitals with Bougt & Bergek Duo during the XIX Winter Music Festival of Domingos Martins and in Centro Cultural Justicia Federal, Rio de Janeiro. It also led to live performances on Brazilian TVGazeta. Jonatan regularly works as a chamber musician and in 2016, his guitar and piano duo with Irena Radić won 2nd Prize in the Chamber Music Competition at the Twents Guitar Festival, Netherlands and the group Dramma Per Musica are looking forward to performing in major festivals and venues around the UK including the Brighton Early Music Festival, Barnes Music Festival and St John’s Smith Square in London. Prior to coming to London, Jonatan studied with Bo Hansson at Södra Latin Gymnasium's Professional Musician Programme. His studies there were supported by the Royal Academy of Music in Sweden, the Swedish Guitar & Lute Society and the Grisslehamn’s Guitar Prize. Jonatan plays on guitars by Johannes Kitselis and Lars Jönsson. His theorbo, also made by Lars Jönsson, is generously sponsored by the Helge Ax:son Johnson Foundation. Jonatan would like to thank the following organisations and individuals for their generous support throughout his career and studies: The Musicians’ Company, Margareta Rörby and the Jörgen Rörby Scholarship, the Swedish Guitar & Lute Society, the Grisslehamn’s Guitar Prize, Edilson Barboza and the FAMES in Brazil, Royal Academy of Music in Sweden, Sasha Levtov and the West Sussex Guitar Club, the Uppfostringsfonderna, the Thora Ohlsson Foundation, the Helge Ax:son Johnson Foundation, the Kjempe-Carlgrenska Foundation and Föreningen för Tidig Musik.

Jonatan's Song list

Below you find some programme suggestions
Programme title: STANDING TALL
Description: The theorbo is traditionally an accompanying instrument, working intimately with small chamber groups as well as large baroque orchestras and choirs. Consequently, theorbo players often arranged music written for their solo counterparts, reimagining these works for the theorbo alone.
Jonatan Bougt performs music by Lully, Couperin and Bach not originally intended for this long-necked lute.
PROGRAMME
Jean Babtiste Lully 1632-1687
Ouverture de la Grotte de Versailles
Second Air d’Isis
Countredance & Double (possibly by Purcell or trad.)
Que ces Lieux ont d’attraits
Gigue de Rousseau, rondeau (possibly by Jean Rousseau)
Francois Couperin 1668-1733
Les Sylvain
Anon. possibly by Robert de Visée 1655-1732/3
La Villanelle
Johann Sebastian Bach 1685-1750
Cello Suite G Major BWV 1007
Programme Title: SONGS WITHOUT WORDS – SOLO MUSIC FOR THE THEORBO
Description: In the midst of the Italian transition from renaissance to baroque, where composers like Monteverdi and Caccini competed over the invention of the term seconda prattica, the lute was needed in much larger ensembles than ever before. The theorbo or chitarrone was developed to accompany the voice, not only in the solo monodies but also to be heard over an ensemble of instruments in the very first operas. The importance of the librettos and hierarchy of the textual meanings in turn influenced the instrumental music so that one could almost imagine texts describing the highly virtuosic instrumental music that arose at the same time. The nature of the theorbo with its reentrant tuning meant a sonority not heard before. The fluid, rapturous and campanella style arpeggios and scale passages was so captivating that even the more idiomatic instruments such as the harpsichord tried to copy what the lutenists did.
As time progressed and the center of attention had turned to the French court, the theorbo was not only a major part of the chamber music, but also a close companion as a “house instrument” to Luis XIV. Robert de Visée, was not only playing in Lully’s orchestra and together with contemporaries like Marais, he was also the private guitar teacher of Luis XV and it was not uncommon that Luis XIV called upon de Visée to play in the bedroom at bedtime. Whilst vocal music still had an absolute central part of the cultural life in Paris, the art of dance was even more prominent and the French dance suite was one of the most popular sets of pieces composed and performed. The imagination nonetheless remained exquisite in both the free preludes and the very descriptive titles of pieces, like Couperin’s “Les Sylvian” or “La Plainte, ou Tombeau de Mesemoiselles de Visée” found in this programme.
This programmes explores the birth of the chitarrone with ravishing toccatas by Kapsberger, to the peak of the instrument at the French court of Luis XIV where Robert de Visée literally was creating royal music for the most influential European court of the late 17th Century.
PROGRAMME
Robert de Visée (1655-1732/3)
Prelude & Chaconne
Suite in E minor
i. Prelude
ii. Allemande
iii. Courante
iv. Sarabande
v. Gigue & Double
vi. Gavotte
vii. La montfermeil, rondeau
François Couperin (1668-1733)
Les Sylvains, arranged by de Visée
Giovanni Girolamo Kapsberger (c1580-1651) from Libro Quatro D'Intavolatura di Chitarone 1640
Toccata Arpeggiata
Kapsberger
Passacaglia
Alessandro Piccinini (1566-1638) from Intavolatura di Liuto et di Chitarrone
Corrente X – Toccata IV – Corrente III
De Visée
La Plainte, ou de Tombeau de Mesdemoiselles de Visée
Kapsberger
Toccata I from Libro Quatro D'Intavolatura di Chitarone 1640
Musicianship
Genres:
Baroque, Classical, Early music, Opera, Easy listening, Light music
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Event types:
Concert, Charity event, Private event, Recording session, Theatre / Show, Wedding, Corporate event, Wedding proposal, Funeral / Memorial service, Church service
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Other skills:
Instrumental teaching, Theory teaching
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