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

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.