Fête galante
Nothing sounds like everything in this language, and everything is as much as nothing. Romina Lischka – viola da gamba Maude Gratton – fortepiano Sonatas from the Berlin school in the time of Fredrick the Great Works by C.Ph.E. & J. Chr. Bach, Schaffrath and Graun. (+)
'La Viole d'harmonie'
The lute music and accompanied songs of the English Renaissance inspired composers such as Tobias Hume to write music in this style for the viola da gamba. The gamba blossomed as a solo instrument through this new chordal way of playing, and this resulted in a new lyra repertoire that was notated in tablature. This notational system can also be seen in the second half of the 17th century in France, and Demachy - as an exception - wrote his Pièces de Viole in both tablature and normal notation. Demachy and his contemporaries made a distinction between the jeu de mélodie and the jeu d'harmonie. I Solo pieces for viola da gamba by T. Hume, Demachy, Ste Colombe (+)
Call to Prayer
By listening to each other and exchanging musical thoughts about different styles and cultures, Ghalia and Romina developed a dialogue where they attempt to capture the common spirit of Arabian maqams, Indiase ragas and the impressionistic moods of Marais' works. (+)
J.S. BACH - Sonatas for viol and harpsichord
J.S. Bach wrote the three sonatas for viol and harpsichord at the end of his career in Leipzig. He specified the use of the gamba in his passions and a few cantatas, but the G-major sonata is most likely an arrangement of his trio sonata for two flutes and basso continuo. The G major and D major sonatas stay faithful to the four-part sonata structure with fugal and dance elements, while his G minor sonata uses more modern concerto style elements. The two hands of the harpsichord and the gamba are equal voices and are able to produce a three-voice contrapuntal texture. (+)
L'Echo du Danube
The gamba throughout the changing zeitgeist of the 18th century. Solo works for viola da gamba by J. Schenk, C. Höffler, J.S. Bach, G.Ph. Telemann and C.F. Abel. (+)
Les Trois Maîtres
The famous French gamba virtuosi Marin Marais and Antoine Forqueray wrote numerous collections of Pièces de Violes between 1686 and 1747. Marais was the first gambist to attain a soloist position at the court of Louis XIV. The lute repertoire was an important influence on his compositions. Forqueray, in contrast, was inspired by the violin and developed a virtuoso bow technique. Complex ornamentation characterize both composers' Pièces de Violes, which were performed in a rhetorical manner that was meant to imitate the art of singing. Couperin wrote just one set with two Suites for the gamba. This work from 1727 is one of his last compositions, and it's elegiac character can be seen as a homage to the instrument. (+)
Le Nympho di rheno - Johannes Schenck
Johannes Schenck A staged work for one dancer and two gambas Femke Gyselinck - choreography and dance Romina Lischka & Irene Klein - viola da gamba (+)
Orpheus' Noble Strings
Orpheus and his lyre: how to better picture the power of music? Orpheus could move stones to tears, he even moved to pity the gates of death. Music overturns the world, this the composers of the English Renaissance knew very well. Even more, music is the soul of the world, a unifying force. (+)
« En Suite »
At Versailles, dance was not just simple entertainment. When the king danced, it was his power and glory that shined. The dance suite, in the form of Prélude – Allemande – Courante – Sarabande – Gigue, was the basis for the instrumental writing in France at the time. Marin Marais and Robert de Visée, both “musicians of the king's room,” were virtuosos who composed numerous works for their respective instruments. It was the development of these dances which gave birth to the “Pièces de caractère,” a new instrumental form, where music and image are united. (+)
