76 Sentences With "bass viol" | Random Sentence Generator

Although the most common solo instrument is the bass viol, it also comes in smaller treble and tenor sizes and has six or seven strings.

1861 Yankee Bass Viol in the Metropolitan Museum of Art The American bass viol, also called a church bass or Yankee bass viol, is a type of bowed string instrument which enjoyed popularity in early 19th century New England for use in aiding Puritan congregational singers. In its time of common use, the instrument was referred to as a bass viol, despite the fact that it more closely resembles a large violoncello than a bass viola da gamba (also known as a bass viol). The size and form of these instruments varies; many are uniquely proportioned folk instruments. The earliest dated example of a church bass is from the maker Benjamin Crehore, made in Massachusetts in 1788.

His three sonatas were for violin, bass viol and continuo. The three sonatas have been recorded by The Newberry Consort.

Adam Drese (December 1620 – 15 February 1701 in Arnstadt) was a German composer, kapellmeister and bass viol player of the baroque period.

Bakaleinikoff played the double bass viol in Columbia Studios' orchestra for films such as Lost Horizon before becoming the studio's music director in the early 1940s.

The arpeggione is a six-stringed musical instrument fretted and tuned like a guitar, but bowed like a cello, and thus similar to the bass viola da gamba. The instrument is sometimes also called a guitar violoncello. The body shape of the arpeggione is, however, more similar to a medieval fiddle than either the guitar or the bass viol. It is essentially a bass viol with a guitar-type tuning, E–A–d–g–b–e' .

In 1722, he led the cello in the opera orchestra, displacing the bass viol. In 1733 he received French citizenship. He died in Paris. Frontispiece of the first edition of Stuck's cantatas.

He was an amateur musician who, unusually for the time, played the antiquated viola da gamba (i.e. the bass viol); an instrument he once owned is in the Victoria and Albert Museum.

Violone or great bass viol. Painting by Sir Peter Lely, c. 1640, Dutch-born English Baroque era painter. Note the Italianate shape, square shoulders, and F-holes, apart from its massive size.

The instruments had to be restored to playing condition before the group could use them."Canada’s ‘Hart House’ Viols Heard Again".. La Scena Musicale, by Crystal Chan / June 14, 2009 Two other recordings are Sainte Colombe: Concertos for bass viol/Les Voix Humaines and Sainte-Colombe Concerts a deux Violes Esgales, which study and perform the works of two composers who were father and son."Sainte-Colombe Concerts a deux Violes Esgales". Gramophone review, Julie Anne Sadie"Sainte Colombe: Concertos for bass viol/Les Voix Humaines".

The Baltimore Consort was founded by Roger Harmon and Mindy Rosenfeld in 1980. Harmon formerly had taught lute at the Peabody Conservatory in Baltimore, Maryland. They performed together for ten years before releasing their first album for Dorian Recordings, a collection of Scottish music called On the Banks of Helicon. By the time of that recording the ensemble consisted of Custer LaRue (soprano), Ronn McFarlane (lute), Mary Anne Ballard (viols, fiddle), Larry Lipkis (bass viol, recorder), Chris Norman (flutes, bagpipes, bodhran), Howard Bass (bandora), and Mark Cudek (cittern, bass viol).

A companion work Parthenia inviolata, or Mayden-Musicke for the Virginalls and Bass-Viol was published soon afterwards. The title contains a play on words involving the word viol. This sequel is said to have been compiled by one Robert Hole.

If Trees Could Fly is a studio album by jazz acoustic bassist Marc Johnson and electric cellist Eric Longsworth. The record was released via the Intuition Music label in 1998. It features eleven compositions arranged and performed only on bass viol and cello.

In France he was simply known by the name Théobalde. He earned his living playing the bass viol, both as a teacher and as a member of the orchestra of the Académie Royale de Musique (the Paris Opera). He composed songs, duets and two works for the stage.

However, if a bigger budget was available for a performance and a larger sound was required, a basso continuo group might include multiple chord-playing instruments (harpsichord, lute, etc.) and a range of bass instruments, including cello, double bass, bass viol or even a serpent, an early bass wind instrument.

Statue of Gasparo da Salò. Bass viol (Ashmolean Museum) Violin (Esther 1917) F-hole label on Viola. Church of San Giuseppe in Brescia. Gasparo da Salò (May 20, 1542 - April 14, 1609) is the name given to Gasparo Bertolotti, one of the earliest violin makers and an expert double bass player.

The trio sonata typically consisted of three parts, two violins and continuo. However, the two violins could be substituted with pairs of flutes, recorders, or oboes. The third part, the basso continuo, has two components. First, it includes the bass line, which commonly was doubled by a bass viol, violone, violoncello, or bassoon.

In 1805 Ingalls published The Christian Harmony. Ingalls served as a deacon in the church, but in 1810, he was excommunicated from that congregation. In 1819 he moved to Rochester, Vermont and then Hancock, Vermont. Ingalls was described as short and corpulent with a high voice and an advanced skill at the bass viol.

Joseph François Salomon (April 1649 – 5 March 1732) was a French composer of the Baroque era. Born in Toulon, he learnt to play the bass viol and the harpsichord, and went to Paris to work as a musician for the royal family. He was 52 when he composed his first opera, the tragédie en musique Médée et Jason.

The Doctor and Lawyer revive Punch, but they too are murdered (with a gigantic hypodermic needle and quill, respectively), and join Judy at the chorus gibbet. Punch again woos Pretty Polly, giving her a prism. Again she rejects him. Punch murders the Choregos, a narrator figure, by sawing him in half (within a bass viol case).

Performed by the Rexford Symphony, Ernest La Prada (author of the book), conducting. The cast: Gene Hamilton (narrator), Celia Rotelle (Alice), Leonard Fabian (bass viol), Robert Weil (saxophone), mother (Ann Gerry). Album cover states "Produced and directed under the personal supervision of Nanette Guilford, Metropolitan Opera Star." Issue date of album is unknown, probably in the 1930s or early 1940s.

Parthenia Inviolata, or Mayden-Musicke for the Virginalls and Bass-Viol is the second book of keyboard music printed in England, containing twenty pieces scored for virginal and bass viol.Brennecke, Ernest, Jr. "'Parthenia Inviolata': The Second Book of Keyboard Music Printed in England." The Musical Times 75.1098 (1934): 701–706. It was apparently published as a companion work to Parthenia, published c.

Most houses of worships made do with a pitch pipe, or with a cello or bass viol. But following the Revolutionary War, demand for organs, previously limited to more progressive Anglican churches, began to take off. Edward Bromfield Jr. of Boston, Massachusetts is generally credited with having built America's first organ in 1745.The Popular Science Monthly, Edited by William Jay Youmans, Vol.

Both St. Anthony's and St. Marguerite's were named in honor of the LeClaires for their generosity. Antoine LeClaire had also been a member of the St. Anthony's choir, where he played the bass viol. While they were devout Catholics their generosity was not limited to the Catholic Church. LeClaire also provided the land for the initial First Baptist Church, Edwards Congregational, and other churches.

1674, Elegant Couple (A Musical Interlude). The theme is similar to the classic Music Lesson genre, and features a bass viol, virginal, and cittern (in the woman's hand, out of frame in this detail; see full image). This image highlights the domestic amateur class of viol players. Vihuelists began playing their flat-edged instruments with a bow in the second half of the 15th century.

On the title-page of this work he calls himself a "Gentleman and Practitioner of Musicke." It contains fourteen songs in four parts, which may be sung as part- songs or as solos by a soprano voice, accompanied by the lute, or the lute and bass-viol. The suggestion that the accompaniment could be lute alone is unusual.Charles Edward McGuire, Steven E. Plank, Historical Dictionary of English Music: ca.

Later when they are dancing at the ball it appears that Albert is getting jealous but instead he is more interested in playing the bass viol in the orchestra. Later, Agi tells Alexandra how he feels about her. She tells him that it was all a ploy to get Albert to propose to her and she suspected he felt this way. She realizes that she has some feelings for him but he refuses her.

John Playford describes the lyra viol as the smallest of three types of bass viol: the consort bass, division viol, and lyra viol. Christopher Simpson wrote that the strings on the lyra viol were lighter and the bridge flatter than those on the other bass viols. The strings were also closer to the fingerboard than they were on the consort bass. These modifications were probably in part to make playing chords easier.

Viols are fretted in a manner similar to early guitars or lutes, by means of movable wrapped-around and tied-on gut frets. A low seventh string was supposedly added in France to the bass viol by Monsieur de Sainte-Colombe (c. 1640–1690), whose students included the French gamba virtuoso and composer Marin Marais. Also, the painting Saint Cecilia with an Angel (1618) by Domenichino (1581–1641) shows what may be a seven-string viol.

According to the musical society's 1929 history book, the Stoughton singers met a chorus from the nearby First Parish Church in Dorchester about the year 1790. This is believed to be the first singing contest held in America. The Dorchester chorus consisting of men and women were accompanied by a bass viol, the Stoughton Musical Society had twenty selected male voices and sang without accompaniment. The Stoughton singers first performed Jacob French's anthem, The Heavenly Vision, which they performed from memory.

The low instruments of the woodwind consorts were all but abandoned. Even in the string family, members of the viol family – except for the bass viol which provided the necessary basso continuo – were gradually replaced by the new and highly virtuosic violin. The lute and viola da gamba continued being written for in an accompanimental role but could not compete with the violin in volume. The shawm was replaced by the oboe, which had a more refined sound and was capable of dynamic nuance.

The reviewer for the journal Notes commented that "the reader is forced to plow through page after page of erotica (some might label it pornography) in order to ferret out the most basic kind of information about the man and his music." The Washington Post 's reviewer stated that the book is "sexual fantasy and tortured personality conflict", and complained that there was little information about Mingus' music or those he played with.West, Hollie I. (May 15, 1971) "Bass Viol Book". The Washington Post. p. C4.

He appears to have been an undergraduate at the University of Georgia in Tbilisi (though he states Georgia itself is in "the Ukraine"), where he practiced gymnastics ("The Hot Number Affair"). Kuryakin is a polymath. He is well-read in English literature, he has an in-depth knowledge of music and plays the bass viol, the English horn and guitar. He also sings, and he speaks many languages, including French, Spanish ("The Very Important Zombie Affair"), German, Italian and Japanese ("The Cherry Blossom Affair").

However, this was not without some controversy among the congregation, many of whom still held the puritan belief that organs were tools of the devil and had no place in a church building. Up until that time, the congregation was traditionally accompanied by a trio of musicians playing bass viol, violoncello and flute. The new organ was built by Garrett House of Buffalo, New York, at the price of $2,500 that was raised entirely by subscriptions from the members. The new organ was dedicated August 26, 1860.

Charles Medlam is an English conductor and cellist also known for his performances on viola da gamba. Medlam studied the cello with Jane Cowan (1915-1996) in London, Paris, Vienna and Salzburg Mozarteum before becoming interested in the bass viol and early performing styles.Profile of Charles Medlam He studied with Maurice Gendron at the Paris Conservatoire, Wolfgang Herzer at Vienna, then studied cello with Heidi Litschauer and performance practice with Nikolaus Harnoncourt in Salzburg. Charles Medlam founded London Baroque with Ingrid Seifert in 1978.

It was sold in auction to book collector Joseph William Drexel and is now in the Drexel Collection (call number Drexel 5120) in the New York Public Library. A facsimile was published in 1961 with a historical introduction by Thurston Dart, foreword by Sydney Beck, and bibliographical note by Richard J. Wolfe.Parthenia in-violata or, Mayden-musicke, for the Virginalls and Bass- viol, Selected by Robert Hole; Facsimile of the Unique Copy in the New York Public Library. New York: New York Public Library, 1961.

Cudek is a performer specializing in guitar, recorder, crumhorn, bass viol, and percussion. Among the groups he has toured with are Hesperus, Apollo's Fire, Catacoustic Consort, and the Baltimore Consort. Cudek is actively involved in the Peabody Renaissance Ensemble and was creator and Director of the High School Early Music Program at the Interlochen Arts Camp in Michigan. He is the creator of a Masters program at Peabody; instituted a new Baroque Orchestra, and has developed an Early Music program at the Walters Art Museum in Baltimore.

Rosseter's lute songs are generally short, homophonic, with minimal repetition or word painting (imitating textual meanings through music), while at the same time being rich in musical invention. Rosseter's only other book was Lessons for Consort (1609) for a broken consort of bandora, cittern, lute, flute, and treble and bass viol, which contains arrangements of his own and others' music. Rosseter was also involved in the Jacobean theatre. In 1609 he and Robert Keysar became shareholders in a company of boy actors, the Children of the Chapel.

Due to the number of strings and their rather flat layout, the lyra viol can approximate polyphonic textures, and because of its small size and large range, it is more suited to intricate and quick melodic lines than the larger types of bass viol. The lyra viol has been favorably compared to both the lute and the violin, by Tobias Hume and Roger North respectively. The name lyra viol came into use because the playing style of bowed chords is similar to that of the lirone.Frank Traficante.

A trio is a composition for three performers or musical parts. Works include Baroque trio sonatas, choral works for three parts, and works for three instruments such as string trios. In the 17th and early 18th century, musical genre trio sonata two melodic instruments are accompanied by a basso continuo, making three parts in all. Because the basso continuo is usually played by two instruments (typically a cello or bass viol and a keyboard instrument such as the harpsichord), performances of trio sonatas typically involve more musicians.

Samuel Gilburne (fl. 1605, d. after 1623) was an Elizabethan actor who is listed as one of the "Principall Actors" in the prefatory material of the First Folio of William Shakespeare's plays. Gilburne is named as a former apprentice to Augustine Phillips, another member of Shakespeare's company, in Phillips' will dated 4 May 1605, in which Gilburne is bequeathed 40 shillings, Phillips's "mouse-colored" velvet hose, his black taffeta suit and white taffeta doublet, his purple cloak, his sword and dagger, and his bass viol.

Instruments also appear in art of the period, with a ceiling at Crathes Castle showing muses with lute, bass viol, fiddle, harp, cittern, flute and clavicord, similar to a mixed consort found in England in this period.M. Spring, The Lute In Britain: A History Of The Instrument And Its Music (Oxford: Oxford University Press, 2006), , pp. 451–2. Music also became one of the accomplishments of the Renaissance courtier and even royalty.K. Hinds, Everyday Life in the Renaissance (London: Marshall Cavendish, 2009), , p. 39.

The baryton can be viewed as a sort of augmented bass viol. It is similar in size to the latter instrument and likewise has six or sevenGartrell (2003: 117) discusses the evidence for four-string barytons. Evidently all such cases either are barytons that were converted into cellos, or (in one instance) show evidence in the form of filled-in peg holes of an original form with six strings. strings of gut (typically D G C E A D, although scordatura was used), arranged over a fretted fingerboard and played with a bow.

The ship arrived at Kailua-Kona on the island of Hawaii on April 4, 1820. He accompanied the singing of Christian hymns on the "bass-viol" for the first Sabbath. When the Thaddeus left for Honolulu, George stayed behind and after a quick courtship, married Elizabeth Peke Davis, known as "Betty Davis" (1802–1860), daughter of Isaac Davis who had served Kamehameha I as a military advisor and married into Hawaiian royalty. After getting passage on another boat to Honolulu, he convinced missionaries Ruggles and Whitney to take him to Kauai on the Thaddeus.

A concert, painting by Lorenzo Costa, in the National Gallery, London The term lute song is given to a music style from the late 16th century to early 17th century, late Renaissance to early Baroque, that was predominantly in England and France. Lute songs were generally in strophic form or verse repeating with a homophonic texture. The composition was written for a solo voice with an accompaniment, usually the lute. It was not uncommon for other forms of accompaniments such as bass viol or other string instruments, and could also be written for more voices.

In modern usage, the term most often refers to the double bass viol, a bowed bass string instrument sounding its part an octave lower than notated pitch in early music groups performing Renaissance, Baroque and Classical era music on period instruments. However, the term can rightly be applied to members of the violin family, and also to ‘cello sized’ instruments, of both the violin and viol families, where those instruments play their parts AT notated pitch. Only a few players specialize in these instruments. Some use contemporary reproductions rather than actual historical instruments.

Oedipus, title page of the play "Music for a While" is a da capo aria for voice (usually soprano or tenor), harpsichord and bass viol by the English Baroque composer Henry Purcell. Based on a repeating ground bass pattern, it is the second of four movements from his incidental music (Z 583) to Oedipus, a version of Sophocles' play by John Dryden and Nathaniel Lee, published in 1679. It was composed for a revival of the work in 1692. The aria was published posthumously in Orpheus Britannicus, book 2, 1702.

Zelenka's father Jiří was a schoolmaster and organist in Louňovice, and was likely his first music teacher. Nothing more is known with certainty about Zelenka's early years, but it is known that he received his musical training at the Jesuit college Clementinum in Prague and that his instrument was the violone (bass viol). His first works were probably written in Prague. His earliest known work is the school drama Via laureta (ZWV 245), composed in 1704, from which only the libretto has been preserved and the music is lost.

The instrument is held vertically and is supported by the player's legs (rather than with an end-pin as in the modern cello). The baryton differs from the bass viol in having an additional set of wire strings. These perform two functions: they vibrate sympathetically with the bowed strings, enriching the tone, and they can also be plucked by the left thumb of the performer, creating a contrasting tonal quality. As can be seen in the illustration, the bowed strings are placed on the right, where they can be easily fingered by the player's left hand.

Alice in Orchestralia is a 1925 children's novel by American composer and radio producer Ernest La Prade (1889–1969). A girl named Alice visits a symphony concert and, through the portal of a tuba's bell, enters Orchestralia, where a bass viol escorts her and introduces her to a variety of animated musical instruments. In 1934 it was re-issued in a second edition with the title Alice in Orchestra Land. In 1929 La Prade wrote a sequel entitled Marching Notes; in 1952 a British edition of this was published under the title Alice in Music Land.

Marin Marais by André Bouys, 1704 Marin Marais (; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was moderately successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c.

For example, he composed two sets of fantasias entitled The Monthes and The Seasons, which both consist of one treble and two bass viol parts, with continuo. The Seasons was recorded by Hille Perl (as one of the Sirius Viols) in 2016, with extensive liner notes about the piece. All his surviving instrumental works are for viol ensembles or the solo viol, an instrument about which he wrote that "a violin the hands of an excellent violist may (no doubt) be reckoned amongst the best of musical instruments. To play extempore to the ground is the highest perfection of it".

As constituted during the time of Queen Elizabeth I (called an "Englisch consort" by Praetorius in 1618 , and more recently a "mixed consort" or "consort-of- six" , or a "Morley consort" ), it typically featured three plucked string instruments (lute, cittern, and bandora, called "Pandora" by Morley), two bowed instruments (treble viol or violin, and bass viol), and a recorder or transverse flute. Such consorts became quite popular during the Elizabethan era and often accompanied vocal songs. Two manuscript sets of partbooks dating from 1588 and ca. 1590 are the earliest substantial sources of music for this consort.

Couperin's organ music exerted a great influence over 17th century European composers; it represents the transition from the strict counterpoint in the Titelouze vein to the colorful, concertante organ style introduced by Guillaume-Gabriel Nivers and Nicolas Lebègue, who influenced late Baroque composers such as François Couperin and Nicolas de Grigny. Couperin was the first French composer to write for specific registrations and also the first to compose leaping division basses in the style of divisions for the bass viol. Both of these stylistic traits are among the defining characteristics of French organ music of the 17th and the 18th centuries.

The first description of bowed polyphonic music for the viol is in a treatise by Johannes Tinctoris, and the first development of its repertoire can be traced back to Sylvestro di Ganassi dal Fontego in the mid-sixteenth century. This technique of chordal writing with heavy use of ornamentation became integral with the French viol composers. Despite these differences in structure, the lyra viol is not significantly different from other bass viols, and lyra viol music can be played on any bass viol. Although as we have seen during the 17th century builders made instruments specifically for this repertoire.

The typical Elizabethan consort of viols was composed of six instruments: two basses, two tenors and two trebles, or one bass, three tenors and two trebles (see Chest of viols). Thus the bass, tenor and treble were the central members of the family as far as music written specifically for viols is concerned. Besides consort playing the bass could also be used as a solo instrument (there were also smaller basses designed especially for a virtuosic solo role, see above division viol, lyra viol, viola bastarda). And the bass viol could also serve as a continuo bass.

Violinmaker Hans Benning of Benning Violins creating a Baryton in Los Angeles, 1963. The baryton was "completely neglected" (Hsu) in the nineteenth century, but in the twentieth, with the rise of the authentic performance movement in classical music, new barytons were built and played. Initially, these instruments were heavily constructed, more in the manner of a cello than a bass viol (they were thus sometimes called "cellitons"),Sadie and Pamplin (no date) but (much as with the parallel history of the harpsichord revival) eventually lighter instruments were constructed that more closely followed their historical antecedents. Probably the first person to initiate the revival of the baryton was Christian Döbereiner in Munich.

Marie Aubert died on 7 August 1700. Gigault soon remarried, but himself died just a few years later, on 7 August 1707. The inventories of Gigault's possessions, taken in 1662 and in 1700 (on the account of his marriage and his wife's death, respectively), reveal that already by 1662 he was no longer poor and could afford a well-furnished home with a collection of paintings and sculptures, and a large number of musical instruments: a chamber organ, two harpsichords (one with two manuals, the other with one), three spinets, two clavichords, a bass viol, two treble viols, a theorbo and a guitar.Pyle 1991, 40.

Even though, for the motion picture, the name and city were changed, the basics of the story appear to ring true, according to family members, and New Orleans jazz history aficionados. The band has also been described as "King Watzke's Band" or "Dixieland Band" in the written accounts cited as references. King Watzke and his band are referred to in a scholarly book by Daniel Hardie, about the history of New Orleans jazz. The following were reported to have been members of the band: Violin or Bass Viol - King Watzke (leader); Trumpet - Jimmy Kendall; Clarinet - Freddie Burns; String Bass - Buzz Harvey, Emile Bigard; Guitar - Jimmy Ruth, Pat Shields.

The violone is also not always a contrabass instrument. In modern parlance, one usually tries to clarify the 'type' of violone by adding a qualifier based on the tuning (such as "G violone" or "D violone") or on geography (such as "Viennese violone"), or by using other terms that have a more precise connotation (such as "bass violin" or "violoncello" or "bass viol"). The term violone may be used correctly to describe many different instruments, yet distinguishing among these types can be difficult, especially for those not familiar with the historical instruments of the viol and violin families and their respective variations in tuning.

The makeup of the continuo group is often left to the discretion of the performers (or, for a large performance, the conductor), and practice varied enormously within the Baroque period. At least one instrument capable of playing chords must be included, such as a harpsichord, organ, lute, theorbo, guitar, regal, or harp. In addition, any number of instruments that play in the bass register may be included, such as cello, double bass, bass viol, or bassoon. In modern performances of chamber works, the most common combination is harpsichord and cello for instrumental works and secular vocal works, such as operas, and organ and cello for sacred music.

As a result, the tonal structure of a piece of music became more audible. The new style was also encouraged by changes in the economic order and social structure. As the 18th century progressed, the nobility became the primary patrons of instrumental music, while public taste increasingly preferred lighter, funny comic operas. This led to changes in the way music was performed, the most crucial of which was the move to standard instrumental groups and the reduction in the importance of the continuo—the rhythmic and harmonic groundwork of a piece of music, typically played by a keyboard (harpsichord or organ) and usually accompanied by a varied group of bass instruments, including cello, double bass, bass viol, and theorbo.

In jazz, blues, rockabilly and other genres outside of classical music, this instrument is commonly called the upright bass, standup bass or acoustic bass to distinguish it from the electric bass guitar. In folk and bluegrass music, the instrument is also referred to as a "bass fiddle" or "bass violin" (or more rarely as "doghouse bass" or "bull fiddle"). The upright bass is different from the acoustic bass guitar, which is a guitar-family instrument that is built like an acoustic guitar with a sturdier construction (although using the same E1–A1–D2–G2 tuning as the double bass). The double bass is sometimes confusingly called the violone, bass violin or bass viol.

A violone or "great bass viol"; painting by Sir Peter Lely, Dutch-born English Baroque era painter, c. 1640, showing a large bass instrument of da braccio corpus form, but with a very wide fingerboard, played with underhand bow grip, and without an endpin Both the violin and viol families came into use in the Western world at approximately the same time ( 1480) and co-existed for many centuries. That being said, during the Renaissance and early Baroque eras, the two families had different uses, and in particular, different social standings. Viols were primarily household instruments, played by well-to-do, educated members of society, as a pleasant and cultured way of passing time.

In that year he was appointed Kapellmeister to the dowager empress, the widow of Emperor Karl VI. On her death in 1750, Tůma received a pension. For the next 18 years he remained in Vienna and was active as a composer and as a player on the bass viol and the theorbo; he was esteemed by the court and the nobility, and at least one work may have been commissioned from him by the Empress Maria Theresa. After the death of his wife in about 1768, Tůma lived at the Premonstratensian monastery of Geras (Lower Austria), but in his last illness he returned to Vienna and died in the convent of the Merciful Brethren at Leopoldstadt.

In !971 he founded and directed the early music ensemble The Praetorius Consort, recording for EMI, BBC Records and Decca as well as founding [in 1973] the London Baroque Trio: Christopher Ball [recorder], Mary Verney [harpsichord] and Peter Vel [bass viol]. In 1981 he began a ten-year association with the BBC Midland Radio Orchestra when the BBC commissioned many orchestral compositions and arrangements from him. Since the 1990s he has concentrated on composing and, as of 2014, has composed nine concertos for different instruments : flute, oboe, clarinet, recorder, horn, violin, cor anglais [English horn] and two for cello as well as a newly written Clarinet Quintet, a Caprice on a Baroque Theme and the Wind Quintet: Scenes From A Comedy.

Charles, employer of Gibbons, as Prince of Wales after Daniel Mytens, c. 1623 By the late 1610s Gibbons was undoubtedly the most important musician and composer at court as Byrd had retired in Essex and Bull had fled to the Low Countries to avoid a charge of adultery. In 1617 Gibbons gained the position as keyboard player in an ensemble, organised by John Cooper, for the privy chamber of Prince Charles (later King Charles I). Gibbons was the only keyboardist in a group of 17 musicians of whom the Prince himself was thought to have occasionally joined on either the Bass-Viol or Viol da Gamba. It is likely that Gibbons was able to write for this ensemble and had pieces premiered by it.

A "great bass viol" or violone, painting by Sir Peter Lely, c. 1640, showing the large size and typical violin shape of a bass violin The bass violin was developed in Italy in the first half of the sixteenth century to play in consort with the violin and viola. The first builder was possibly Andrea Amati, as early as 1538. The first specific reference to the instrument was probably made by Jambe de Fer in his treatise Epitome Musical (1556).Jesselson 1991, Jambe de Fer 1556, Bonta 1990 One of the first known instances of a composer explicitly calling for the bass violin ("basso da brazzo") was Monteverdi in Orfeo (1607)Jesselson 1991 (the first was possibly Giovanni Gabrieli in Sacrae symphoniae, 1597).

Thomas Webster Most early west gallery groups sang unaccompanied, but later they were augmented by instruments such as the violin, cello (or the 'bass viol'),As, for example, at Swalcliffe: see p. 198, Temperley, 1983 clarinet, flute and bassoon. As the primary purpose of the accompanying instruments was to maintain the pitch of the singers, the instruments tended to double the vocal parts, with depictions of such groups, as in Thomas Webster's painting The Village Choir, showing each instrument leading a group of singers gathered around it. Accompaniment with a bass instrument was most important and is seen from the mid 18th century; bands including treble-range instruments were rare before 1770, but became more common during the period 1780–1830.pp.

Frontispiece from John Playford's Musicks recreation on the lyra viol The lyra viol is a small bass viol, used primarily in England in the seventeenth century. Described as "the smallest of the bass viols", one should consider that the consort bass was much larger in 17th century England than most bass viols nowadays (hovering between 78 and 80 cm string length, while the division viol hovers around 76 cm (30 inches according to Christopher Simpson). The lyra viol therefore is the "smallest" and according to James Talbot (end of the 17th century) is therefore 72 cm string length. John Talbot's 17th century measurements for viols, The Orthodox viol sizes There is a large and important repertoire which was developed specifically for the lyra viol.

Antoni de Literes (18 June 1673 Majorca – 18 January 1747 Madrid), also known as Antonio de Literes or Antoni Literes Carrión) was a Spanish composer of zarzuelas. As with other national forms of baroque opera, Literes's stage works employ a wide variety of musical forms – arias, ariettas and recitative (accompanied and unaccompanied) as well as dance movements and choruses, though here mingled with spoken verse dialogue. His use of the orchestra follows French and Italian practice in including guitars, lutes, and harpsichords amongst the continuo instruments. From 1693, after the exile of his predecessor Sebastián Durón, Literes became the Master of the Capilla Real of Madrid, playing the bass viol and soon being accounted the greatest Spanish court composer of his time.

" History of Ashburnham, Massachusetts, p. 329, Ezra S. Stearns, 1887. See also Genealogy and memoirs of Isaac Stearns and his descendants, Avis Stearns Van Wagenen, 1901: "His musical taste and ability were manifested at an early age and his proficient execution in boyhood is pleasantly remembered by the residents of his native town, Ashburnham, Mass. He played the bass viol in the Congregational Church before his stature would permit him to reach the strings, and Mr. Miller, the chorister, made a cricket [foot stool] for him to stand upon." He studied the piano and organ with Professor Benjamin F. Leavens"Benjamin Franklin Leavens [1822-81] early developed a musical taste, and at the age of eighteen was organist at Christ Church, Boston.

Cassius Stearns, far right with bass viol, in Green's Band 1860Green's Band was a small dance or social orchestra based in Fitchburg, Ma. In addition to Stearns and his brother-in-law, Addison A. Walker, the band included the Litch brothers (Aaron Kimball and Charles), who are described in The Keyed Bugle, Ralph Thomas Dudgeon, 2004 Stearns came from a musical familyHistory of Ashburnham, Massachusetts, chapter XI, Ezra S. Stearns, 1887. His parents, although not professionals, taught music and were prominent members of the choir in the Congregational meeting house. (The 1791 meeting house survives as the premises of the Ashburnham Historical Society, but was replaced by a new meeting house in the 1830s). His sister, Rebecca Hill Stearns, was a soprano and music teacher and married Capt.

Róisín made her first recording with her mother in 1996 with L'art du sean-nós for the French label Buda MusiqueIrelande: L'art du sean-nós / Ireland: the art of Sean-Nós, Treasa Ní Cheannabháin and Róisín Elsafty, Buda Musique and has appeared on several other albums. Róisín has performed with Dónal Lunny and accordion player Máirtín O’Connor at the Konzerthaus Großer Saal, Vienna and at the ESB Ceol Festival at the National Concert Hall, Dublin. She has also performed as part of The Irish Consort with tenor John Elwes, Reiko Ichise on bass viol and Siobhán Armstrong playing the traditional wire-strung Irish harp and the European Renaissance harp. In 2007 she released Má bhíonn tú liom Bí liom (If you are with me, truly be with me), a CD containing both traditional and new material.

Despite this backbreaking workload, the job was in artistic terms a superb opportunity for Haydn. The Esterházy princes (Paul Anton, then from 1762–1790 Nikolaus I) were musical connoisseurs who appreciated his work and gave him daily access to his own small orchestra. During the nearly thirty years that Haydn worked at the Esterházy court, he produced a flood of compositions, and his musical style continued to develop. Prince Nikolaus Esterházy, Haydn's most important patron Much of Haydn's activity at the time followed the musical taste of his patron Prince Nikolaus. In about 1765, the prince obtained and began to learn to play the baryton, an uncommon musical instrument similar to the bass viol, but with a set of plucked sympathetic strings. Haydn was commanded to provide music for the prince to play, and over the next ten years produced about 200 works for this instrument in various ensembles, the most notable of which are the 126 baryton trios.

Serge Koussevitzky popularized the double bass in modern times as a solo instrument. In the 1970s, 1980 and 1990s, new concerti included Nino Rota's Divertimento for Double Bass and Orchestra (1973), Alan Ridout's concerto for double bass and strings (1974), Jean Françaix's Concerto (1975), Frank Proto's Concerto No. 2, Einojuhani Rautavaara's Angel Of Dusk (1980), Gian Carlo Menotti's Concerto (1983), Christopher Rouse's Concerto (1985), Henry Brant's Ghost Nets (1988) and Frank Proto's "Carmen Fantasy for Double Bass and Orchestra" (1991) and "Four Scenes after Picasso" Concerto No. 3 (1997). Peter Maxwell Davies' lyrical Strathclyde Concerto No. 7, for double bass and orchestra, dates from 1992. In the first decade of the 21st century, new concerti include Frank Proto's "Nine Variants on Paganini" (2002), Kalevi Aho's Concerto (2005), John Harbison's Concerto for Bass Viol (2006), André Previn's Double Concerto for violin, double bass, and orchestra (2007) and John Woolrich's To the Silver Bow, for double bass, viola and strings (2014). Reinhold Glière wrote an Intermezzo and Tarantella for double bass and piano, Op. 9, No. 1 and No. 2 and a Praeludium and Scherzo for double bass and piano, Op. 32 No. 1 and No. 2\.