Pour baryton (ou viole de gambe/Violon), alto et violoncelle, Hob XI: 73-96, édité par Leonore et Günter von Zadow. Edition Urtext d'après le manuscrit Elßler de Budapest, incluant une partie de violon ou de viole à la place du baryton. / Partitions classique / Ensemble et orchestre / Conducteur / GUNTERSBERG

Pour baryton (ou viole de gambe/Violon), alto et violoncelle, Hob XI: 73-96, édité par Leonore et Günter von Zadow. Edition Urtext d'après le manuscrit Elßler de Budapest, incluant une partie de violon ou de viole à la place du baryton. / Partitions classique / Ensemble et orchestre / Conducteur / GUNTERSBERG

Johann Gottlieb Graun (1702/3-1771)Concerto in C major for viola da gamba, two violins, viola, and basso continuoGraunWV A:XIII:2While this concerto contains the excitement and virtuosity which is the soul of the concerto, it is perhaps less demanding than some of Graun?s other gamba concertos. We are indeed fortunate that it has recently come to light again after the chaos of the war years and the darkness of the following Cold War. At the time of its disappearance in the 1940s it would have been dismissed as an unplayable curiosity, but now there are surely many who can bring it to life, as Ludwig Christian Hesse did in the eighteenth century. We are grateful to the Berlin Sing-Akademie for permission to produce this first edition. / Viole de gambe / Guntersberg

in c-Moll A2:55A, g-Moll A2:56A, a-Moll A2:57AThe Maltzan Collection is a trove of manuscripts made up of thirty for the most part unknown works for viola da gamba in the holdings of the library of Adam Mickiewicz University in Pozna?, Poland. Twenty-eight of the works are by Carl Friedrich Abel - including a number of autographs - and one each by Johann Christian Bach and Andreas Lidl. The manuscripts were copied between 1759 and 1789 in England, and purchased there by the then Prussian envoy in London, Count Joachim Carl Maltzan, who brought them back with him to Militsch, Silesia (today Milicz, Poland). In 1945 the manuscripts came into the possession of the library in Poznan. The collection was discovered in 2016 by Sonia Wronkowska, who is also the editor of the ten-volume edition of all the previously unknown works from this collection.The viola da gamba sonatas by Abel in the Maltzan Collection are musically mature pieces that throw a new light on Abel's compositional artistry. For the most part, they pose greater challenges for the player than the previously known sonatas from Abel's time in London. The fast movements are more expansive; the range extends from AA to b ; there are movements with variations and polyphonic passages; unusual keys, such as A-flat Major and E Major, are to be found; and many a slow movement contains a cadenza from Abel's hand. / Viole de gambe / Guntersberg

für Cembalo (Pianoforte) and Viola da Gamba, herausgegeben von Thomas Fritzsch und Günter von Zadow. Diese Kammermusiken von Johann Christian Bach waren lange verschollen und wurden 1992 von dem griechischen Reeder Kulukundis bei Sotheby?s ersteigert. Erstausgabe. Edition Güntersberg / Viole de gambe / Guntersberg

Becker, Dietrich (1623'1679): Sonata A-Dur for violin, viola da gamba, and b. c., first edition edited by Leonore and Günter von Zadow. Becker numbered among the most important North-German instrumental composers of the second half of the seventeenth century. His works stand in the tradition of Weckmann, Reincken, and Buxtehude. Characteristic of Becker are the passages in which the viola da gamba and bass play together and the concertante sections with solos for the individual instruments with a concluding tutti. Edition Güntersberg

For violoncello & b. c., edited by Leonore and Günter von Zadow. Since generations the easily playable sonatas are within the standard repertoire. The musical content of the print from 1799 has been retained unchanged in this Urtext edition and is conformed to the contemporary demand of genuine rendition. Sonatas IV-VI

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.

Editor: Thomas Fritzsch and Günter von Zadow, publication date: 2016-03, source: print Hamburg 1735 Description For more than two hundred years, Telemann's unique Fantasias for solo viol remained hidden from the general public until a copy of the original 1735 print was discovered in 2014. We are very happy to be able to make them accessible now to all gambists, and are certain that these Fantasias will soon belong to the standard repertoire of all friends of the viola da gamba. In addition to a preface by Carsten Lange and Thomas Fritzsch, our edition includes a complete facsimile and a modern edition for practical music-making.

From Ander Theil (1639) for 2 discant viola da gambas (or 2 violins) & b. c., edited by Leonore and Günter von Zadow. The pieces are evocative of the Italian music of the early baroque period.

Von dem böhmischen Komponisten Hammerschmidt ist unter den Namen Erster Fleiß und Ander Theil eine umfangreiche Sammlung von 5-stimmigen Tanzsätzen überliefert, vgl. G017-G024. Darunter befinden sich auch diese dreistimmigen Stücke, die an die italienische Musik aus dem Frühbarock erinnern. Sie lassen sich auf Violinen ebenso gut ausführen wie auf Diskantgamben.