Background Image Background Image Background Image
background image

GS 0413
StarStarStarStarStar Rating
Log in to be the first to review this disc
Background Image Background Image Background Image
background image
Glossa Logo
GS 0413

MACHY, S. de: Viola da gamba Music (Pandolfo)

The Classical Shop
release date: December 2012

Originally recorded in 2012


Paolo Pandolfo


Record Label




Total Time - 69:47
background image
mp3question marklosslessoff  
*when you purchase a lossless format, we include the MP3 free of charge
Please Note: On Mp3 format an unavoidable click may be heard on segue track breaks, to avoid this issue please select lossless

MACHY, S. de: Viola da gamba Music (Pandolfo)

Select Complete Single Disc for



Pieces de violle: Suite No. 8 in A major

1 I. Prelude 1:35
2 II. Allemande 2:35
3 III. Courante 2:28
4 IV. Sarabande 3:23
5 V. Gigue 1:37
6 VI. Gavotte 2:22
7 VII. Menuet 2:11

Pieces de violle: Suite No. 1 in D minor

8 I. Prelude 2:52
9 II. Allemande 3:35
10 III. Courante 1:50
11 IV. Sarabande 2:59
12 V. Gigue 2:21
13 VI. Gavotte 2:17
14 VII. Menuet 2:12

Pieces de violle: Suite No. 4 in G major

15 I. Prelude 0:46
16 II. Allemande 2:46
17 III. Courante 2:27
18 IV. Sarabande 3:34
19 V. Gigue 2:12
20 VI. Gavotte en Rondeau 2:34
21 VII. Chaconne 5:14

Pieces de violle: Suite No. 5 in D major

22 I. Prelude 1:36
23 II. Allemande 3:22
24 III. Courante 2:13
25 IV. Sarabande 2:09
26 V. Gigue 1:56
27 VI. Gavotte 1:53
28 VII. Menuet 2:48
 Paolo Pandolfo Soloist

With his performance of the music of De Machy, Paolo Pandolfo is enriching the recorded survey of solo viola da gamba music with a very special contribution; such as he has done before with his recordings of music by Sainte-Colombe, Abel or of his most warmly-received recording, the Bach Cello Suites in their transcription for viola da gamba.
The publication of the Pièces de Violle (Paris, 1685), the first of the literature for the viola da gamba in France, unleashed a veritable polemic or querelle with Jean Rousseau concerning the
“true manner of playing the viola”, which had been described by De Machy with a wealth of details in the prologue to his work and in which radiates an enormous sense of aplomb and certainty. His advocacy for the viola da gamba as a harmonic (or chordal) as well as a melodic instrument was to go on to have a significant influence on later composers such as Marin Marais and Antoine Forqueray.
With his recording and also in his accompanying essay, Paolo Pandolfo places special emphasis on one facet of these pieces which tends to pass unnoticed: their danceable character. Countless sources from the time tell us about the vigorousness of the interest in the dance in the 17th century, a passion practiced in an almost obsessive way not only by the court nobility but by the rural aristocracy and the wealthier bourgeoisie as well. This all makes the vision of a viola da gamba accompanying such dances a very suggestive one indeed…
No Internal Reviews Found.

No User Reviews Found.