Thomas Georgi has taken on the unenviable task of attempting to bring the neglected viola d'amore back into a kind of favor into modern times. Look at what wonders the film Tous les Matins du Monde has wrought for the viola da gamba -- just a generation ago, hardly anyone played one, and by 2007, all sorts of players that have picked it up. However, there is a huge historical repertoire for gamba and only a very small one for viola d'amore; Vivaldi used it in some of his concerti and in instrumental parts belonging to ...
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Thomas Georgi has taken on the unenviable task of attempting to bring the neglected viola d'amore back into a kind of favor into modern times. Look at what wonders the film Tous les Matins du Monde has wrought for the viola da gamba -- just a generation ago, hardly anyone played one, and by 2007, all sorts of players that have picked it up. However, there is a huge historical repertoire for gamba and only a very small one for viola d'amore; Vivaldi used it in some of his concerti and in instrumental parts belonging to certain vocal works, and it is in this literature that the viola d'amore has found a home. Georgi has determined that the largest body of chamber sonatas produced for the viola d'amore by any composer belongs to an obscure figure named Attilio Ariosti, a Bolognese composer who worked from 1716 in London. Ariosti was good enough a composer to have had one of his melodies lifted by Handel for the "Pastoral Symphony" in Messiah nearly 15 years after he died, and Ariosti contributed 21...
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Seller's Description:
Attilio Ariosti. Poor. Used-Acceptable, withdrawn library disc(s) with liner notes. Disc(s) should play great without any playback issues. Disc(s) & liner notes may contain typical library markings like stickers, protective label covers, & writing. Discs may be repackaged in library style casing. Back artwork & any other promo material not included.
