During the 17th century, the viol (or viola da gamba) gained great importance
in Europe. Known as an instrument preferred by the elites, repertoire for
this instrument flourished in the courts of France, England and Italy. Still,
this music was mainly instrumental, for viol consorts or solo practice. The
lute, however, flourished and remained the main accompaniment for singers
throughout this century. But sometimes, a composer would choose the viol
as the instrument to accompany their songs, as is the case with Tobias Hume.
What might have happened had the viol gained the same weight in the work
of other artists of this period?
In this programme, we bring a collection of French, English, Scottish, Portuguese and
Spanish songs of the Renaissance and Baroque periods, mostly written for a continuo group or a lute accompaniment, adapted for a more intimate setting of one voice and viol, to explore this neglected possibility.