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The viola da gamba is occasionally confused with the viola, the alto member of the modern violin family and a standard member of both the symphony orchestra and string quartet. In the 15th century, the Italian word " viola " was a generic term used to refer to any bowed instrument, or fiddle .
Jean (?) de Sainte-Colombe (c. 1640 – c. 1700) was a French composer and violist.He was a celebrated master of the viola da gamba and was credited (by Jean Rousseau in his Traité de la viole (1687)) [1] with adding the seventh string, tuned to the note AA (A 1 in scientific pitch notation), on the bass viol.
He went on to study gamba with Wieland Kuijken at the Royal Conservatory of Brussels, where he received a Premier Prix in 1984. [1] As a gamba and violone player, he has performed with numerous pioneers of the early music movement, including Sigiswald and Wieland Kuijken, René Jacobs, and Jean-Claude Malgoire. In France, he participated in the ...
Carl Friedrich Abel (22 December 1723 [a]: 3 – 20 June 1787) was a German composer of the pre-Classical era.He was a renowned player of the viola da gamba, and produced significant compositions for that instrument.
Antoine Forqueray. Antoine Forqueray (September 1672 [1] – 28 June 1745) was a French composer and virtuoso of the viola da gamba.. Forqueray, born in Paris, was the first in a line of composers which included his sons Jean-Baptiste (1699–1782) and Nicolas Gilles (1703–1761) as well as his brother Michel (1681–1757).
Vittorio Ghielmi is an Italian musician (viola da gamba), conductor, composer.Compared by critics to Jasha Heifetz ("Diapason") for his virtuosity, and described as "An Alchemist of sound" ("Diario de Sevilla") for the intensity and versatility of his musical interpretations, Vittorio Ghielmi attracted notice while still very young for his new approach to the viola da gamba and to the sound of ...
Judith Davidoff (21 October 1927 – 19 December 2021) [1] was an American viol player, cellist, and performer on the medieval bowed instruments. [2] She was considered the “Grande Dame of the viol”, [3] "a master of the viola da gamba and other stringed instruments" and "a central part of the early-music scene."
His second (in two volumes) is about the viola da gamba: Regola Rubertina (Venice, 1542) and Lettione Seconda (Venice, 1543). They cover both technicalities of playing and the subtleties of expression. There is also guidance on ornamentation—passaggi.
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