viola d'amore


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viola d'amore:

see violviol,
family of bowed stringed instruments, the most important ensemble instruments from the 15th to the 17th cent. The viol's early history is indefinite, but it is recognizable in depictions from as early as the 11th cent. During the second half of the 17th cent.
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References in periodicals archive ?
Ranges: Soprano, [C.sub.4]-[G.sub.5]; Bass, [D.sub.2]-[C.sub.4] Recorder, viola d'amore, gamba, b.c.
The next offering featured Tenenbaum playing the Concerto in D Minor for Viola D'amore, RV 395.
We invite everyone to join us tomorrow at the Qatar National Theatre for a journey into the unique and mesmerising sound of this gifted artiste and his quartet." Youssef specialises in the classical violin and viola d'amore, with his work heavily influenced by the Arabic maqam.
Her voice was like that of a viola d'amore. The Luhacovice Slanice was in the scorching heat of the August sun.
Encargada de la interpretacion fue la Capella Barroca de Mexico, fundada por el propio Franco alla por 1993 con el nombre de Capella Cervantina, organizacion que, otra particularidad importante de este evento, ofrecio, por primera vez en nuestro pais, una audicion de la Pasion segun San Juan con replicas de instrumentos de la epoca, o sea, a mas de los habituales de hoy, laud, viola da gamba, viola d'amore, bajo continuo y otros y, por supuesto, las voces que integraron el coro a cuatro cuerdas requerido por Bach.
His viola d'amore concertos were written to exploit not only the silvery tone- qualities of the instrument, with its set of sympathetic strings, but also its capabilities for playing multiple stopped chords.
The preface lists Graupner's many unpublished concertos; more interesting than those selected might have been the several works notable for their extremely unusual scorings, including various combinations of viola d'amore, oboe d'amore, flauto d'amore, and bass chalumeau.
These range from early articles on music criticism, the necessity of experimentation, and the viola d'amore, to lectures whose ideas are closely related to his well-known books A Composer's World and The Craft of Musical Composition, to an extended lecture given only five months before his death in December 1963.
In the earliest years, these were often archaic string instruments, especially the viola da gamba and viola d'amore. The viola d'amore received compositions by Paul Hindemith (who also performed on the instrument), Hans Pfitzner, Frank Martin, Cyril Scott, Matyas Seiber, and numerous others, including Ermanno Wolf-Ferrari, whose duo for viola d'amore and gamba (op.
The only other instrument of early interest was a viola d'amore with a short head with seven small pegs for the bowed strings (all with modern screw fittings on the tailpiece) and six sympathetic strings tuned with a rectangular clock or harpsichord key at the back of the scroll.
As well as the multi-instrument concerto RV558 (pairs of mandolins, theorbos, chalumeaux, recorders, violins 'in tromba marina', and a solo cello -- a study in tonal contrasts indeed!), the two trios for lute with violin and continuo, RV85 and 82 (performed most successfully with archlute), the two mandolin concertos (RV425, a solo concerto played by Dulio Galfetti, perhaps my favourite thing on the disc, and RV532), there are the two concertos for the lute, RV540 with viola d'amore (whose last movement shares thematic material with RV558, perhaps intentionally, since both were composed and performed in Venice in 1740 for the delight of the Crown Prince of Saxony, the son of Weiss's employer in Dresden), and the D major solo concerto, RV93.