Theorbo
Jonatan Bougt
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1-3 of 6 videos
Jonatan Bougt plays: Dansa Brasiliera by Radames Gnatalli
Polonäs from Sexdrega - Bougt & Bergek Duo
Countredance & Double or La Furstemberg
About Jonatan
"in the dramatic Toccata, Bougt impressed with great dexterity, quick shifts and sharp emotional flings."
– Uppsala Nya Tidning –
3 of 6 photos
Theorbo
London
Public liability insurance of £10 million
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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