I am not a player of either theorbo or Baroque guitar. But I've heard them in performances, and I've wondered how often the player has made the choice for the guitar simply because that way there is a chance it will be heard. Sometimes the number of string players is too large, or they play on later style (and louder) instruments, or whatever. But a theorbo among a string orchestra of even 3/3/2/1 on a part will simply not be heard in my listening experience. But in the same context a guitar strummed hard and loudly, will at least contribute some rhythmic, percussive sound that will be heard. This seemed to be the reasoning in a performance of Monteverdi I heard awhile ago. The solo arias had theorbo while the louder ensemble pieces with obbligato strings were played with guitar. So perhaps if practically speaking this is how the choice gets made, we should look at some of the other performance practices that might not be quite what they should be. Just a thought from an audience member. Suzanne --
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