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Journal articles on the topic 'Suites (Viola da gamba)'

Author: Grafiati

Published: 28 July 2024

Last updated: 31 July 2025

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1

Scott, Nicholas V., Sarah Jensen, and Edward Maday. "Tonal-timbral based bicoherence analysis of a viola da gamba suite for wolf tone characterization." Journal of the Acoustical Society of America 148, no. 4 (2020): 2750. http://dx.doi.org/10.1121/1.5147646.

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2

Hunt, Edgar, and Adolf Heinrich Konig. "Die Viola da Gamba." Galpin Society Journal 43 (March 1990): 186. http://dx.doi.org/10.2307/842498.

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3

Otterstedt, Annette. "The Italian Viola da Gamba." Die Musikforschung 57, no. 4 (2025): 450–52. https://doi.org/10.52412/mf.2004.h4.4663.

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4

Campbell, D. Murray, J. Patricia Campbell, and Jim Woodhouse. "Acoustical evolution of the viola da gamba." Journal of the Acoustical Society of America 138, no. 3 (2015): 1911. http://dx.doi.org/10.1121/1.4934010.

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5

Irion, Millard, Karl Friedrich Abel, Walter Knape, and Folkmar Langin. "10 Solostucke; fur Viola da gamba senza basso." Notes 45, no. 1 (1988): 160. http://dx.doi.org/10.2307/941416.

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6

Shaffer, Ann. "Music for Viola da Gamba from Edition Guntersberg." Notes 69, no. 4 (2013): 806–14. http://dx.doi.org/10.1353/not.2013.0073.

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7

Ashbee, A. "Electronic journal for the Viola da Gamba Society." Early Music 36, no. 2 (2008): 349. http://dx.doi.org/10.1093/em/can041.

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8

POLLENS, STEWART. "A VIOLA DA GAMBA TEMPERAMENT PRESERVED BY ANTONIO STRADIVARI." Eighteenth Century Music 3, no. 1 (2006): 125–32. http://dx.doi.org/10.1017/s1478570606000522.

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The problem of tempering keyboard and fretted instruments has occupied the attention of musicians and theorists for hundreds of years. Since the sixteenth century most fretted instruments such as the lute and viola da gamba have employed equal temperament (or an approximation of it based upon the 18:17 rule) or an adaptation of mean-tone tuning, but these systems suffered from ‘tempered’, or ‘impure’, intervals. In 1705 the music theorist Thomas Salmon (born London, 1648; died Mepsal [now Meppershall], Bedfordshire, 1706) proposed a system of intonation for the viola da gamba that employed div

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9

Pinto, David. "Review: The Italian Viola da Gamba. Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April–1 May 2000." Music and Letters 84, no. 4 (2003): 656–58. http://dx.doi.org/10.1093/ml/84.4.656.

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10

Putra, Diki Pratama, Ibnu Sina, and Febri Yulika. "INTERPRETASI REPERTOAR: SEBUAH UPAYA KONSEPTUALISASI KARAKTER SOLIS." Laga-Laga : Jurnal Seni Pertunjukan 7, no. 1 (2021): 23. http://dx.doi.org/10.26887/lg.v7i1.1536.

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The cello solis performance is an instrumental show that places great importance on the maturity of a solist in presenting the repertoires which he will present in the form of a recital examination. The cello is a stringed instrument just like the violin. The current cello is called the modern cello. The modern cello is a development of the previous Cello such as the viola da gamba, viola da spalla, viola da bracchio and bass viol. Initially, the Cello served as the bass in a musical foundation. In the 17th century, composers such as Domenico Gabrielli and Giuseppe Colombi created works for si

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11

Chatziioannou, Vasileios. "Reconstruction of an early viola da gamba informed by physical modeling." Journal of the Acoustical Society of America 145, no. 6 (2019): 3435–42. http://dx.doi.org/10.1121/1.5111135.

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12

Tartas, André, Silvana Scarinci, and Kristina Augustin. "A Ornamentação na Viola da Gamba a partir da Visão de De Machy." Revista Vórtex 9, no. 1 (2021): 1–26. http://dx.doi.org/10.33871/23179937.2021.9.1.4.

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13

Rabin, Ronald J., and Steven Zohn. "Arne, Handel, Walsh, and Music as Intellectual Property: Two Eighteenth-Century Lawsuits." Journal of the Royal Musical Association 120, no. 1 (1995): 112–45. http://dx.doi.org/10.1080/02690403.1995.11828226.

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In 1773 Johann Christian Bach filed a bill of complaint in Chancery for breach of musical copyright, initiating what was to become a landmark case in British copyright law. Bach claimed that the publishing firm of Longman, Lukey & Co. had brought out unauthorized editions of two of his compositions: a ‘new lesson for the Harpsichord or Piano Forte’ and a ‘new Sonata’ for keyboard and viola da gamba.

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14

Sandford, Gordon, Johann Sebastian Bach, Lucy Robinson, and John Butt. "Sonatas, BWV 1027-1029; For viola da gamba (Violoncello) and Obbligato Harpsichord." Notes 45, no. 2 (1988): 383. http://dx.doi.org/10.2307/941371.

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15

Döbereiner, Christian. "Über die Viola da Gamba und ihre Verwendung bei Joh. Seb. Bach." Bach-Jahrbuch 8 (February 23, 2018): 75–85. http://dx.doi.org/10.13141/bjb.v19111264.

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16

O'LOGHLIN, MICHAEL. "FRANZ XAVER HAMMER (1741–1817) THE LAST GAMBIST: SONATAS FOR VIOLA DA GAMBA Simone Eckert (viola da gamba) / Hamburger Ratsmusik Christophorus CHR 77303, 2008; one disc, 76 minutes." Eighteenth Century Music 7, no. 1 (2010): 148–50. http://dx.doi.org/10.1017/s1478570609990650.

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17

Pinto, David. "Review: The Viola da Gamba Society Index of Manuscripts Containing Consort Music, i." Music and Letters 84, no. 1 (2003): 84–87. http://dx.doi.org/10.1093/ml/84.1.84.

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18

Wronkowska, Sonia. "Newly discovered works for viola da gamba by Carl Friedrich Abel: the Maltzan Collection." Early Music 46, no. 2 (2018): 271–84. http://dx.doi.org/10.1093/em/cay024.

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19

Ludwig, Loren. "J. S. Bach, the Viola da Gamba, and Temperament in the Early Eighteenth Century." BACH: Journal of the Riemenschneider Bach Institute 53, no. 2 (2022): 260–300. http://dx.doi.org/10.1353/bach.2022.0014.

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20

Linfield, Eva. "North and South European influences on Buxtehude's chamber music : despite influences, a unique repertory." Schütz-Jahrbuch 10 (August 21, 2017): 104–25. http://dx.doi.org/10.13141/sjb.v1988722.

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Die Studie untersucht (1) den englischen Einfluß auf die Kammersonaten Buxtehudes, der sich speziell in der Klangstruktur mit Melodieinstrumenten in Sopran- und Alt-/Baß-Lage und in der Besetzung mit Viola da gamba auswirkt, (2) das italienische Vorbild von Sonaten und Opernsinfonien als formgebendes und expressives Element in den Sonaten Buxtehudes, und sie versucht, (3) das individuelle Gepräge des Repertoires zu beleuchten. Der Begriff des „Stylus phantasticus“ dient als Ausgangspunkt für die Diskussion der revidierten Sonate in B (BuxWV 255). Buxtehudes Transformation von Einflüssen zu ein

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21

Suckling, Christopher. "Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch - By Peter Holman." Journal for Eighteenth-Century Studies 35, no. 2 (2012): 300–301. http://dx.doi.org/10.1111/j.1754-0208.2011.00465.x.

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22

Woodfield, I. "Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch. By Peter Holman." Music and Letters 93, no. 4 (2012): 600–602. http://dx.doi.org/10.1093/ml/gcs084.

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23

Medlam, C. "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School. By Michael O'Loghlin." Music and Letters 91, no. 3 (2010): 424–26. http://dx.doi.org/10.1093/ml/gcq048.

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24

Stockigt, Janice B. "Frederick the Great and his Musicians: The Viola da Gamba Music of the Berlin School - By Michael O'Loghlin." Journal for Eighteenth-Century Studies 35, no. 3 (2012): 430–31. http://dx.doi.org/10.1111/j.1754-0208.2010.00339.x.

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25

HOLMAN, PETER. "ANN FORD REVISITED." Eighteenth Century Music 1, no. 2 (2004): 157–81. http://dx.doi.org/10.1017/s1478570604000119.

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Twentieth-century accounts of the life and musical activities of Ann Ford, later Mrs Thicknesse (1737–1824), have largely relied on the entry for her in the Victorian Dictionary of National Biography. The rediscovery of a fifty-four-page article on her in Public Characters (London, 1806) has led to a re-evaluation of other sources of information, including her semi-autobiographical novel The School for Fashion (London, 1800), the pamphlets published in the course of her dispute with the Earl of Jersey and her treatises on playing the English guitar and the musical glasses. These throw new ligh

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26

Castro, Marcos Câmara de, and Flávia Camargo Toni. "“Ele militou no sonho de ver os músicos engajados politicamente”." Revista da Tulha 3, no. 2 (2018): 165. http://dx.doi.org/10.11606/issn.2447-7117.rt.2017.143053.

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Entrevista com Flávia Toni. Eleita em 2017 para a cadeira nº 40 da Academia Brasileira de Música, cujo patrono é Mário de Andrade, antes ocupada por Renato Almeida e por Vasco Mariz, Flávia Camargo Toni é mestre e doutora em Artes, livre-docente, pesquisadora e professora titular do Instituto de Estudos Brasileiros (IEB/USP). Como musicóloga, especializou-se em questões envolvendo a literatura musical de Mário de Andrade, Modernismo e Música, e vida e obra de Camargo Guarnieri. Atuou em conjuntos musicais como instrumentista de viola da gamba e de violoncelo, e em 1973 participou da I Bienal I

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27

Owens, S. "Die Viola da gamba am Wiener Kaiserhof: Untersuchungen zur Instrumenten- und Werkgeschichte der Wiener Hofmusikkapelle im 17. und 18. Jahrhundert." Music and Letters 87, no. 3 (2006): 429–31. http://dx.doi.org/10.1093/ml/gci192.

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28

Bruggaier, Roswitha. "Das Urbild von Johann Sebastian Bachs Choralbearbeitung "Nun komm, der Heiden Heiland" (BWV 660) - eine Komposition mit Viola da gamba?" Bach-Jahrbuch 73 (May 9, 2018): 165–68. http://dx.doi.org/10.13141/bjb.v19872568.

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29

Bailey, Candace. "Peter Holman,Life after Death: The Viola da Gamba in Britain from Purcell to Dolmetsch; and Peter Holman, editor,Purcell." Journal of Musicological Research 31, no. 4 (2012): 330–35. http://dx.doi.org/10.1080/01411896.2012.720916.

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30

HOWARD, ALAN. "ATTILIO ARIOSTI (1666–?1729) THE STOCKHOLM SONATAS I: LESSONS AND SONATAS FOR VIOLA D’AMORE Thomas Georgi (viola d’amore), Lucas Harris (theorbo/archlute/guitar), Joëlle Morton (viola da gamba/great bass viol) BIS CD 1535, 2006." Eighteenth Century Music 4, no. 1 (2007): 164–65. http://dx.doi.org/10.1017/s1478570607000851.

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31

Pinto, D. "The Viola da Gamba Society Index of Manuscripts Containing Consort Music, Vol. 2. Compiled by Andrew Ashbee, Robert Thompson, and Jonathan Wainwright." Music and Letters 90, no. 2 (2009): 278–80. http://dx.doi.org/10.1093/ml/gcn116.

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32

Ottenstedt, Annette. "Marc Stümper: Die Viola da gamba am Wiener Kaiserhof. Untersuchungen zur Instrumenten- und Werkgeschichte der Wiener Hofkapelle im 17. und 18. Jahrhundert." Die Musikforschung 58, no. 4 (2025): 441–43. https://doi.org/10.52412/mf.2005.h4.4887.

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33

Romey, John. "AN INSTRUMENT ‘WITH WHICH GENTLEMEN, MERCHANTS AND OTHER MEN OF VIRTUE PASS THEIR TIME’: THE VIOLA DA GAMBA IN SIXTEENTH-CENTURY FRANCE." Early Music History 42 (October 2023): 235–75. https://doi.org/10.1017/s0261127924000056.

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AbstractIn sixteenth-century France, the viol emerged as a symbol of cultural refinement enjoyed by men of virtue and as a tool to shape bourgeois leisure to reflect noble ideals of a moral and virtuous life. Viols appeared at the French court alongside the transalpine migration of artists, artisans and musicians, the acquisition of prized Italian string instruments and the recruitment of the luthier Gaspar Duiffoprugcar, master of the latest innovations in Italian instrument building. Learning to play viol and lute became essential for the education of nobles because of the belief that they c

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34

Wissick, Brent. "A Viola da gamba Miscellanea: Articles From and Inspired by Viol Symposiums Organized by the Ensemble Baroque de Limoges, France / Christophe Coin, director (review)." Notes 63, no. 1 (2006): 86–87. http://dx.doi.org/10.1353/not.2006.0125.

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35

Finkelshtein, Yu A. ""TOUS LES MATINS DU MONDE": POETRY OF FADING SOUND." Arts education and science 1, no. 4 (2021): 100–107. http://dx.doi.org/10.36871/hon.202104013.

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The object of the article is Alain Corneau's feature film "All the Mornings of the World" ("Tous les matins du monde", 1991). The movie is considered as a work of art with strong postmodern tendencies. The director uses music written in the XVIIth century to create an image of the era. The image of the gambist de Sainte-Colombe is formed on the basis of the aesthetic and emotional perception of his works by the creators of the movie. The timbre of viola da gamba, one of the key features of which is rapid fading, defines the main philosophical idea of the film. The "disadvantage" of the instrum

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36

WEISS, ZOE. "JACQUES MOREL (fl.c1700–1749)PREMIER LIVRE DE PIÈCES DE VIOLLE Alejandro Marías (viola da gamba) / La Spagna Brilliant Classics 95962, 2019; one disc, 72 minutes." Eighteenth Century Music 18, no. 1 (2021): 215–17. http://dx.doi.org/10.1017/s1478570620000585.

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37

NG, SHAUN. "PETER HOLMAN LIFE AFTER DEATH: THE VIOLA DA GAMBA IN BRITAIN FROM PURCELL TO DOLMETSCHWoodbridge: Boydell, 2010 pp. xxii+394, isbn978 1 84383 574 5." Eighteenth Century Music 10, no. 1 (2013): 124–26. http://dx.doi.org/10.1017/s1478570612000413.

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38

Holman, P. "A Viola da Gamba Miscellanea. Ed. by Susan Orlando. pp. 244. (Ensemble Baroque de Limoges, Presses Universitaires de Limoges, Limoges, 2005, 40. ISBN 2-84287-353-X.)." Music and Letters 87, no. 4 (2006): 690–92. http://dx.doi.org/10.1093/ml/gcl027.

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39

ROBINSON, LUCY. "MICHAEL O'LOGHLIN FREDERICK THE GREAT AND HIS MUSICIANS: THE VIOLA DA GAMBA MUSIC OF THE BERLIN SCHOOLAldershot: Ashgate, 2008 pp. xviii + 253, isbn978 0 7546 5885 6." Eighteenth Century Music 7, no. 1 (2010): 124–26. http://dx.doi.org/10.1017/s1478570609990558.

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40

Dirksen, Peter. "Ein verschollenes Weimarer Kammermusikwerk Johann Sebastian Bachs?" Bach-Jahrbuch 89 (March 12, 2018): 7–36. http://dx.doi.org/10.13141/bjb.v20031780.

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Angesichts der disparaten Quellen und der uneinheitlichen Werkgestalt stellt sich die Frage nach Vorgeschichte und Entstehungszeitraum der Triosonate BWV 528. Als Ausgangspunkt dient die Sinfonia aus der Kantate Die Himmel erzählen die Ehre Gottes BWV 76, die das Urbild von BWV 528/1 darstellt. Dabei werden die Abweichungen zwischen verschiedenen Fassungen des Kantatensatzes ebenso wie die Unterschiede zur Orgelbearbeitung eingehend dargestellt. Die Sinfonia wird dabei in ihren Ursprüngen auf die Weimarer Zeit Bachs datiert, was die weitere Argumentation in der Annahme eines aus dieser Zeit st

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41

Kościukiewicz, Jakub. "Cello in the Baroque, part 1." Notes Muzyczny 1, no. 9 (2018): 9–42. http://dx.doi.org/10.5604/01.3001.0012.9895.

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The article was based on a fragment of the author’s doctoral dissertation entitled The birth of cello as a solo instrument – instruments, practice, and selected literature examples (Academy of Music in Łódź, chapter The evolution of cello in the 17th century) and consists of two parts. The first part outlines of the evolution of cello from its birth in the 16th century to the 18th century (the text is supplemented with illustrations), whereas the second part describes the role and use of cello in music of that period. The introduction to the article includes a critical reference to the list of

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42

WALLS, PETER. "GIUSEPPE TARTINI (1692–1770) SONATE A VIOLINO SOLO; ARIA DEL TASSO Chiara Banchini (violin), Patrizia Bovi (soprano) Zig-Zag Territoires, ZZT080502, 2006/2007; one disc, 69 minutes - GIUSEPPE TARTINI (1692–1770), FRANCESCO MARIA VERACINI (1690–1768) THE DEVIL'S TRILL: SONATAS BY GIUSEPPE TARTINI [AND FRANCESCO MARIA VERACINI] Rodolfo Richter (violin), Susanne Heinrich (viola da gamba), Silas Standage (harpsichord), William Carter (archlute, baroque guitar) / Palladians Linn, CKD 292, 2008; one disc, 61 minutes." Eighteenth Century Music 7, no. 2 (2010): 314–16. http://dx.doi.org/10.1017/s1478570610000230.

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43

Alex Baker. "Diminutions, Divisions, and Doubles in Viol Literature." Royal Conservatoire Research Portal, no. 1 (May 20, 2021). http://dx.doi.org/10.22501/koncon.1179217.

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Diminutions, divisions, and doubles are essentially different words for the same practice in viol literature - ornamenting music by dividing notes into smaller notes. The practice varies in name based on its context: in Italian and Spanish music it is called diminution, in English music it is called division, and in dance movements from French suites it is called a double. The question then remains: why do these theoretically identical practices remain distinct in name? Are there other ways in which they differ? This exposition argues that there are indeed other ways in which these different f

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44

Augustin, Kristina. "Século XIX: o fim e recomeço para a viola da gamba." ARJ – Art Research Journal: Revista de Pesquisa em Artes 10, no. 1 (2023). http://dx.doi.org/10.36025/arj.v10i1.31803.

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A viola da gamba foi um instrumento protagonista no cenário musical da Renascença e do Barroco europeu, adentrando no período Clássico com alguns gambistas de renome. Por décadas, músicos e musicólogos afirmaram que a viola e seu repertório morreram com o último gambista Carl Friederich Abel, quando faleceu em 1787. De uma perspectiva moderna é difícil compreender como um instrumento que teve tão grande aceitação nas cortes e longa atuação nos palcos e salões europeus possa ter sido totalmente esquecido e abandonado no século XIX. O artigo apresenta reflexões e traça um possível caminho histór

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45

Wenzinger, August. "Die Viola da gamba in Händels Oratorium „La Resurrezione"." Österreichische Musikzeitschrift 42, no. 2-3 (1987). http://dx.doi.org/10.7767/omz.1987.42.23.80.

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46

"Life after death: the viola da gamba in Britain from Purcell to Dolmetsch." Choice Reviews Online 48, no. 10 (2011): 48–5595. http://dx.doi.org/10.5860/choice.48-5595.

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47

Anna Lachegyi. "From the forest to the concert hall." Royal Conservatoire Research Portal, no. 1 (May 28, 2020). http://dx.doi.org/10.22501/koncon.532869.

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My aim for this research is to discover more about the equipment I use every day and to see if having a practical and technical knowledge about the viola da gamba bow and bow making in the 16-18th century in general will affect my playing and artistic decisions. In today’s practice, bows with a screw mechanism and white hair are the most common type used by viola da gamba players. Iconography and treatises show us that the screw system was not in use until the middle of the 18th century, and the choice of the type of wood, hair, or the shape and length of the bow is very diverse. As the main p

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48

Maggie Urquhart. "The Early Violone." Royal Conservatoire Research Portal, no. 2 (July 14, 2015). http://dx.doi.org/10.22501/koncon.157885.

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Name: Margaret Urquhart Main Subject: Master of Music Research Coach: Peter Holman Title of Research: The Early Violone Research Question: What were the earliest violones, how can they be defined and how were they used till 1700? Summary of Results: After looking at evidence of the emergence of the first low bowed string instruments in Europe, this paper follows the types and use of the main instruments which could be termed violones till 1700, mainly centered in Italy. Through the study of treatises referring to the violone, scores using the term, iconography, secondary sources and the recons

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49

Liu, Juan. "An analysis of the music symbols in Pascal Quignard’s Tous les matins du monde." Language and Semiotic Studies, September 11, 2024. http://dx.doi.org/10.1515/lass-2024-0033.

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Abstract This research paper delves into the intricate role of music as a symbolic form in Pascal Quignard’s novel Tous les matins du monde, exploring its capacity to convey profound human emotions and experiences. Set against the backdrop of 17th-century France, the narrative follows the lives of Monsieur de Sainte Colombe and Marin Marais, renowned viola da gamba players, to contemplate the essence of music and its representation of human sentiment. The paper examines the semiotic nature of music, its relationship with memory and emotion, and the philosophical inquiry into music’s intrinsic

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50

Isaline Leloup. "The Viennese violone : A "Viennoiserie" with 5 spices." Royal Conservatoire Research Portal, no. 1 (May 15, 2023). http://dx.doi.org/10.22501/koncon.1866618.

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This research examines if the Viennese tuning was used in the orchestral works of Beethoven, Schubert, and Mendelssohn and whether it is possible to link the composers and the use of this tuning in their writing style for the 16’ instrument. The Viennese tuned violone is a particular 5-stringed 16’ fretted instrument tuned to “F, A, d, f#, a”. This instrument appeared in the region of Lower-Austria and Moravia in the late 17th century and was played until the middle of the 19th century. Considered a member of the viola da gamba family by its name “violone”, it also has similarities in its thir

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