In 1922, Hindemith begins to focus on old music and discovers the viola d'amore instrument. He composes a sonata and a concerto for viola d'amore and writes numerous works by Biber, Ariosti, Pezold, Rust, Vivaldi as well as Stamitz and makes his own bassovers for the existing bass parts. All musicians who want to discover this side of the genius Paul Hindemith and at the same time want to immerse themselves in the historical performance practice of Baroque music in the 1920s, should read this first edition of Hindemith's thoroughbass interpretation of this masterpiece.

Vasseur takes us back to a 17th century master of violin composition, Heinrich Biber, whose Passagaglia was the terminus of a set of 15 virtuosic sonatas for violin and basso continuo. Vasseur changes the key in his transcription for solo viola, but otherwise adheres faithfully to the composer's intentions. Performance notes on 17th century practice are included. For advanced violists.

Edited by Dagmar Gluxam

Violin, Cello and Harpsichord.

From the 8 Sonatas of 1681(No.1 in A; No.6 in c). Continuo realization by Ewa Gabrys.