Sainte-Colombe (2nd half of 17th century) Pour la Basse The pieces for Viola da Gamba solo from the manuscript M.3 of the Bibliothèque municipale of Tournus In 1992, in the French town of Tournus, an extensive anonymous music manuscript was discovered, which for insiders was nothing less than a sensation. For it turned out that 143 of the pieces in this collection of music for viola da gamba solo were by Sainte-Colombe, the most important viol player and composer in France before Marin Marais. Since, for various reasons, the manuscript is not easy to read for today?s players, we present here for the first time a practical edition that contains all of Sainte-Colombe?s pieces from the Tournus manuscript. The transcription into modern notation has been done with great care, and the original notation retained wherever possible. Sainte-Colombe?s music is so interesting for the performer because it violates many compositional and musical rules, and as a result often seems improvised. Its soothing and frequently melancholy character is unique. It represents a challenge that every viola da gambist should take upon him/herself.

Allerheiligentag IV for viol. Par LINJAMA JYRKI. The material for Jyrki Linjama's Allerheiligentag cycle is a Finnish folk chorale for All Saints' Day (no. 146 in the Finnish Hymn Book). The first work in the cycle is a string trio (2007), the second a piece for orchestra (2009), and the fourth and fifth are solo works for viola da gamba (2018) and violin. The composer tells: 'The choice of topic and material was originally influenced by the place where the string trio would be premiered - the old church on the island of Seili (Själö) in the Turku archipelago. The bleak history of the mental hospital on the island invited images of suffering and death. I got so attached to the fine, bleak melody that this series of works began to emerge.' / Date parution : 2022-05-31/ Répertoire / Viole de Gambe

Diego Ortiz?s Trattado is a classic in the art of musical ornamentation. Part 1 provides examples of every cadence while part 2 discusses the interplay between viola da gamba and harpsichord, including many pieces for this combination of instruments as illustrations. All lovers of early music are familiar with Ortiz?s standard work, but how many of them have actually read it? This new edition makes the work more accessible by choosing a synoptic layout: the original Spanish and Italian are printed on a double-page spread along with translations into modern German and English. An introduction by Annette Otterstedt explains the Trattado and its origins, the various tunings, and questions regarding the instrument. The musical section has been freshly engraved, and a separate viol part simplifies performances with a keyboard instrument. For the first time, Ortiz?s text is now available to an international readership in the original and in translation at the same time. The Editor Annette Otterstedt is a concert gamba player and musicologist presently employed as an assistant curator at the Music Instrument Museum in Berlin . She has published several books, including Die Gambe (1994; Eng. trans. as The Viol, 2002) and a great many articles on early music. Ortiz, Diego Trattado de Glosas Edition no. BVK 1594 ISBN 9783761815946 Detailed product information Editor Otterstedt, Anette Language(s) of work Spanish, Italian, English, German Product format Book Binding Hardback Pages / Format 125/24 S. - 33,0 x 25,0 cm

29 pieces for viola da gamba solo A1:5?33, edited by Leonore and Günter von Zadow. In our edition for practical use, the few mistakes are corrected and documented in an extensive Critical Report. In the main section, we have retained the original treble clef. A supplement that is notated in alto and bass clefs as is usual today is enclosed. Edition Güntersberg

Johann Gottlieb Graun (1702/3-1771)Concerto per la Viola di Gamba in D major, GraunWV A:XIII:4 Editor: Michael O'Loghlin and Günter von Zadow, publication date: 2014-06, source: D-DS Mus.ms 356full score and gamba part incl. facsimil / Viole de gambe / Guntersberg

Marin Marais (1656-1728) Compositions from the First Book for two violas da gamba and basso continuo Editor: Günter and Leonore von Zadow, publication date: 2014-06, continuo realization: Dankwart von Zadow, source: Pieces a une at a deux violes [Premier Livre], Paris 1686-1869 Description Marais' music represents for many the pinnacle of the French viol literature, and the facsimile reproductions of his five books are widely distributed among gambists. For all those who prefer not to play from facsimiles, Edition Güntersberg has issued the suites for two viols from the First Book in modern practical editions. Besides the three part books our editions contain a score, which serves for a better orientation of the continuo players. In addition, for harpsichord players who want to get used to this music we provide a second score, which contains a thoroughly conceived continuo realization. Our viol parts show all performance instructions of the original and are structured in such a way that players as far as possible need not turn pages within movements. The editions contain an instructive introduction in German, English and French.

Collection Maïa, musique d'aujourd'hui sur instruments anciens, dirigée par Eric Fischer' La vision première de l'oeuvre est sonore, fugace, violente et définitive. Et puis... et puis vient le temps de l'écriture...une errance chargée d'encre et de papier, tentative d'écrire dans sa propre langue ce qu'on ne sait pas encore écrire 'Né en 1960 à Perpignan, Bruno Giner commence ses études musicales à Toulouse, puis dans sa ville natale et à Barcelone. A Paris, il suit régulièrement les cours de Pierre Boulez au Collège de France et travaille la composition (électroacoustique et instrumentale) successivement avec Luis de Pablo, Ivo Malec et Brian Ferneyhough.Aujourd'hui, ses oeuvres sont jouées dans de nombreux festivals français et internationaux, et sont interprétées par différents ensembles de musique contemporaine (Aleph, Sic, Fa, L'instant donné, Grame, Nomos, Motus, Intercontemporain, Quatuor Arditti, Klangheimlich, Frullato, Xasax, Ars Nova Nürnberg, Ixtla, Slowind). ' Ce n'est pas la moindre qualité de la musique de Bruno Giner que de nous permettre de mesurer l'étendue de nos préjugés (enfin, je parle pour moi), a écrit Bertrand Dubedout. Restons à l'écoute. Ce compositeur, dont la réflexion et la démarche se nourrissent aussi bien de Boulez ou Ferneyhough, que de Schaeffer ou de Malec, et qu'une insatiable curiosité conduit aussi bien chez Schumann ou Machaut que chez les Pygmées, nous réserve encore bien des surprises, nous mijote bien des émerveillements 'Son catalogue comporte des pièces pour solistes, des partitions de musique de chambre, de la musique vocale, orchestrale, des oeuvres pour l'apprentissage, etc. Sa musique révèle un caractère charnel, parfois virtuose, une énergie canalisée par la formalisation d'une écriture rigoureuse qui n'empêche pas un travail plus empirique sur la morphologie et la matière sonore.En 1998, Bruno Giner reçoit le Prix Hervé Dugardin décerné par la SACEM pour l'ensemble de son oeuvre.Parmi ses dernières compositions, citons Paraphrase sur ' Guernica ' de Paul Dessau pour clarinette, violoncelle, piano et percussions (2003), TCP 17 pour harpe, guitare et mandoline (2005), Clameurs, concertino pour deux percussions et ensemble à vents (2006), Charlie opéra de chambre d'après Matin brun de Franck Pavloff (2007), Extra pour huit violoncelles (2007-2008), Quatuor #3 pour quatuor à cordes et percussion (2008). Parallèlement à ses activités compositionnelles, Bruno Giner a régulièrement collaboré à différentes revues musicales, encyclopédies ou labels discographiques (The New Grove, La Lettre du Musicien, Les cahiers du CIREM, Musica falsa, Motus, etc). Par ailleurs, il signe trois livres : Musique contemporaine : le second vingtième siècle (Editions Durand, 2000), Toute la musique ? (Editions Autrement Junior, 2003), De Weimar à Térézine 1933-1945 : l'épuration musicale (Editions Van de Velde, 2006). / Cordes, Viole De Gambe Et Solo