The conclave that following the death of Clement XI in 1721, which elected Michelangelo Conti - apostolic nuncio in Lisbon between 16 - as Pope Innocent XIII, contributed to strengthen these actions. In accordance with this procedure, arts and music assumed a key role in the representation of the Portuguese Crown in the Papal City. King John V of Portugal, who ruled between 17, adopted an ambitious diplomatic policy towards the Holy See in order to project an image of Portugal abroad that could match the great European powers. For this purpose we will firstly compare them to The Division Viol of Christopher Simpson and we will try to pinpoint any similarities and whether or not has been influenced to them. Do contemporary gamba-composers / teachers reproduce the rules for learning and interpreting old methods? Do they propose new rules and explanations, based on old methods, to facilitate the learning and practice of the instrument by contemporary performers? What is the place of the spirit of the works of the seventeenth century within the new learning strategies and interpretation techniques? We will try to assess the fortune of the ancient heritage of the teaching of the viol, between restitution patrimonial of the old music and the introduction of modern teaching methods.

As part of this presentation, we will conduct a comparative analysis of old and new methods for viola da gamba. During the 20th century, new methods for viola da gamba appear, some of which are based on older ones. Other methods followed and that of Brijon in 1766 on the pardessus viol, comes to close a series of old methods of viola da gamba. This tendency is particularly clear with the methods for viols and more precisely with, in 1687, Le Traité de la Viole of Jean Rousseau and L’Art de toucher le dessus et la basse de viole of Danoville. In the 1660s in France, we found the generalization of learning methods of a single instrument and not a set of instruments, as was commonly the case before.

Antonio vivaldi operas