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Item #:
230764961
The 20th Century Viola da Gamba
Item #:
230764961
€ 12
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The viola da gamba is not dead... experiencing a true apotheosis, becoming the favoured instrument for bourgeois entertainment.
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Product Details
- The viola da gamba is not dead, despite a claim to the contrary in the Dictionary of Musicians by German composer, organist and cellist Ernst Ludwig Gerber (1746-1819). From the 16th century to the end of the 18th, the viola da gamba experienced a true apotheosis, becoming the favoured instrument for bourgeois entertainment, particularly in Germany, France, Italy and England, even if the instrument's origins lie in the Spanish Renaissance. Because of these associations with the aristocracy, but also because of advances in musical style that demanded more from the role of the lower member of the string family, the gamba lost ground to the newer cello during the French Revolution. Limited interest in the instrument persisted through the 19th century, until a rebirth occurred thanks to German cellists Christian Dobereiner (1874-1961) and Paul Grummer (1879-1965), and later the Austrian Karl Maria Schwamberger (1905-1967) and Swiss cellist August Wenzinger (1905-1996), a pupil of Grummer's and a founder, in 1925, of one of Germany's first early music ensembles. Wenzinger was appointed cello and viola da gamba teacher at Basle's new Schola Cantorum Basiliensis, where Giacomo Nones (1929-2017) and Jordi Savall (b.1941) would become his pupils.Dobereiner was one of the most important pioneers at the dawn of modern research into historical performance practice, considered to have revived both the viola da gamba and the baryton from obscurity. From his Sarabande, in Handelian style, only the solo part has survived, and the basso continuo has been reconstructed by Matteo Malagoli.Alexander Tcherepnin (1899-1977) was an important Russian pianist and composer. He invented his own harmonic language, combining major and minor hexachords in a pentatonic scale that blended old Russian patterns and Georgian (Caucasian) harmonies. During a stay in France he became friends with Paul Grummer and in 1969 published a lovely Sonata da chiesa for viola da gamba and organ dedicated to Grummer and his daughter Sylvia.Giuseppe Selmi (1912-1987) was a gifted concert cellist, performing both with orchestra and piano. As a composer, he wrote several works for solo cello, with piano and with harp (he played in a duo with his wife Maria Dongellini). Following the gift of a viola da gamba (built by Paolo Leonori in 1952) from his wife in the 1970s, he became a passionate advocate for the instrument, writing works for it with harp or solo.Giacomo Nones (1929-2017) dedicated himself from a young age to classical music and the popular music from his native Trentino, studying violin, organ and viola da gamba, as well as musicology and organology. He has edited transcriptions and publications of Renaissance and Baroque music and has collaborated with various early music ensembles. Passionate about contemporary music, in particular 'computer music', he wrote his 10 small Algorithms for two viols with the use of a computer according to theories by the Russian mathematician Rudolf Zaripov. His only other viola da gamba works are the very different Partitas on the Lutheran chorale Was Gott tut, das ist wohlgetan for gamba and organ, and the Fantasia for solo viol on the Kyrie of the Gregorian 'Orbis factor' Mass.Riccardo Giavina (1937-2019) was a Piedmontese pianist and composer, later a teacher and headmaster at the 'Bonporti' Conservatory of Trento and Riva del Garda. A friend of Giacomo Nones, in April 1977 he dedicated his three short pieces for three viols (soprano, tenor and bass) to the other composer. Written in late Renaissance style, they are aimed at extending the original literature for viola da gamba into the 20th century.- Recorded April 2022 in Silvelle; July, August & December 2023 in Ponte nelle Alpi; and January 2024 in Trento (Italy)- Booklet in English contains liner notes and a profile of each of the composers- Matteo Malagoli plays a viola da gamba by Marco Salerno (Rome - Barcelona, 2004)- Cristina Centa plays a Salvi harp- Stefano Rattini plays a harpsichord by Fabrizio Acanfora (Naples, 1997) and at the Carlo Vegezzi-Bossi organ (1907; restored Mascioni, 2000) of the Trento Philharmonic Society
| Item Weight | 3.34 ounces (94.69 grams) |
Product Description
The 20th Century Viola da Gamba
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Customer Questions & Answers
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Question:
What is the historical significance of the viola da gamba?
Answer: The viola da gamba was the favored instrument for bourgeois entertainment from the 16th to 18th centuries, reflecting its aristocratic origins. -
Question:
Who were some of the key figures in reviving the viola da gamba?
Answer: Notable revivers include Christian Dobereiner, Paul Grummer, and August Wenzinger, who contributed to its resurgence in the 20th century. -
Question:
Is the viola da gamba suitable for modern performances?
Answer: Yes, it is increasingly used in modern performances and recordings, thanks to its unique sound and historical importance.
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Pros
- Excellent build quality
- Outstanding performance
- User-friendly design
- Highly recommended by experts
Cons
- Minor learning curve for new users.
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€ 12
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Features & Benefits
- Experience the rich history of the viola da gamba.
- Perfect for enthusiasts of classical music and early music ensembles.
- Revived by influential musicians in the 20th century.
- A unique instrument that adds depth to orchestras and solo performances.
- Ideal for collectors and performers alike who appreciate its aristocratic legacy.
- Discover compositions that span centuries, perfect for diverse musical tastes.
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