Between illusion and reality

The theorbo is a large lute that graced the Baroque period, an instrument that combines a heavy bass tone with a delicate timbre.
G.G. Capusberger, who was active in Italy in the early 17th century, published four volumes of works for the theorbo. The third and fourth volumes, which are still extant, were published with solo theorbo and bass solo part (the second volume has been scattered). Why was the bass part added to the low volume theorbo? Is it a part that should actually be played, or is it merely a guide to deciphering the music? If it were to be played, which instrument would be appropriate? These questions led to the formation of this duo.
In addition to the Kapsberger, the program will include works by Pittoni, who also published works with a bass continuo, arrangements for duo of solo pieces from the period to explore the possibilities of theorbo and keyboard instruments, as well as French music.

Program
Giovanni Girolamo Capusberger (c. 1580-1651):
-Toccata No. 1 in D minor
-Toccata No. 3 in E minor
-Toccata Arpeggiata
Louis Couperin(c.1626-1661): Suite for clavecin in D minor, etc.

Performer Profile
Pablo DeVigo (organ and harpsichord):
Conductor and historical keyboardist from Spain. After graduating with top honors in composition and conducting from the Conservatorio de Musica de Asturias, he came to the United States as a Fulbright Scholar and studied at the Cleveland Institute of Music. In 2022, he founded the ancient music ensemble Música dʼOutrora. D. from Indiana University. His artistic vision is to create a meaningful dialogue between historical repertoire and contemporary audiences, and he continues to present new aesthetic and poetic interpretations that link past and present.

Asako Ueda (theorbo):
Asako Ueda (Theorbo): Asako Ueda completed her undergraduate studies in lute at the Royal Conservatory of Music in The Hague, The Netherlands, first in her class in ancient music and in the master's program with a prize for excellence. She received the Prince Bernhard Scholarship to the Schola Cantorum Basel, where she completed a master's degree in Medieval and Renaissance music. He won the first prize at the Marini Old Music Competition, the third prize at the Van Vassenaar Old Music Competition, the second prize at the London Old Music Festival Competition, etc. He is active with the 18th Century Orchestra (Netherlands) and BʼRock (Belgium).
He continues to explore the possibilities of a new stage that is not bound by the framework of ancient music, but is in line with the essence of music.