There is little difference between renaissance viol and baroque viol as they are now made. If the ren viol has a sound post (and bass bar, but that's harder to see) then it's not historical. On the other hand, I know of very few viol players who will attempt public performance without them.
That said, what makes a ren viol renaissance? shape and color, mostly. For that matter, few can tell the difference between a german ren viol and a french 6-string baroque bass. That said, the whole of basso continuo is open to your bass violist, and any viol solo with a BC part that the theorbo can cover is fair game. That's a fairly large amount of music. There is enough evidence that re-entrant tuning on big lutes was used before 1619 when Praetorius wrote about theorbos. 1625-or-so is a pretty good stopping point for the English Golden age, so there's historically-justifiable overlap for both instruments from the late 1500's through the baroque. Bach wrote for viols (cantatas and the gamba sonatas) and Devienne was still publishing music for french viol in the later 1700's. i.e., just about anything that a theorbo can play with a bass clef solo part is fair game, and much with higher music that can be transposed at sight is as well! Have fun! ray On Wed, Jul 15, 2009 at 4:19 AM, hera caius<caiush2...@yahoo.com> wrote: > > Hello lute players, > I am searching for some music for renaissance viol and theorbo... > Can anyone point some sources on the net? > Or if somebody have some files to share I would be gratefull. > Many thanks. > > -- > > > To get on or off this list see list information at > http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html >
