Christian Döbereiner: Capriccio im Stil of Marin Marais; Sarabande A-Dur; Menuett D-Dur; Bourree D-Dur
+Alexander Tscherepnin: Sonata da Chiesa op. 101 für Viola da gamba & Orgel
+Giuseppe Selmi: Il Trovadorico; Allegro vivace all'ungherese; Tirolese; Marcetta cinese
+Giacomo Nones: Fantasie über das Kyrie der Messe Orbis Factor; Partite diverse über "Was Gott tut, das ist wohlgetan" für Viola da gamba & Orgel; Algoritmi
+Riccardo Giavina: Prelude, Fantasie & Postlude im alten Stil
+Kyrie aus Messe Orbis Factor (Gregorianik)

The viola da gamba is not dead, even if the German composer, organist and cellist Ernst Ludwig Gerber (1746-1819) claims the opposite in his "Musikerlexikon". From the 16th to the end of the 18th century, the viola da gamba experienced a veritable apotheosis and became the instrument of choice for bourgeois entertainment, particularly in Germany, France, Italy and England, even though its origins lie in the Spanish Renaissance. Because of these associations with the nobility, but also because of stylistic advances that demanded more emphasis on the role of the lower string instrument, the viol lost ground to the newer cello during the French Revolution.

The limited interest in the instrument continued throughout the 19th century until it experienced a renaissance thanks to the German cellists Christian Döbereiner (1874-1961) and Paul Grümmer (1879-1965), later the Austrian Karl Maria Schwamberger (1905-1967) and the Swiss cellist August Wenzinger (1905-1996), a pupil of Grümmer and founder of one of the first German early music ensembles in 1925. Wenzinger was appointed cello and viola da gamba teacher at the new Schola Cantorum Basiliensis in Basel, where Giacomo Nones (1929-2017) and Jordi Savall (born 1941) became his students.

Döbereiner was one of the most important pioneers at the beginning of modern research into historical performance practice and is regarded as one of the originators of both the viola da gamba and the baryton from oblivion. Only the solo part of his Sarabande in Handel's style has survived; the basso continuo was reconstructed by Matteo Malagoli.

Alexander Cherepnin (1899-1977) was an important Russian pianist and composer. He developed his own harmonic language by combining major and minor hexachords in a pentatonic scale that combined old Russian patterns and Georgian (Caucasian) harmonies. During a stay in France, he became friends with Paul Grümmer and in 1969 published a beautiful Sonata da chiesa for viola da gamba and organ, dedicated to Grümmer and his daughter Sylvia.

Giuseppe Selmi (1912-1987) was a talented concert cellist who performed with both orchestra and piano. As a composer, he wrote several works for solo cello, piano and harp (he played in a duo with his wife Maria Dongellini). After receiving a viola da gamba (built in 1952 by Paolo Leonori) as a gift from his wife in the 1970s, he became a passionate advocate of this instrument and wrote works for it, together with harp or solo.

Giacomo Nones (1929-2017) devoted himself to classical music and the pop music of his native Trentino from an early age and studied violin, organ and viola da gamba as well as musicology and instrumentology. He has edited transcriptions and publications of Renaissance and Baroque music and collaborated with various early music ensembles. He is enthusiastic about contemporary music, especially "computer music", and wrote his 10 small algorithms for two viols using a computer based on the theories of the Russian mathematician Rudolf Zaripov. His only other works for viola da gamba are the very different partitas on the Lutheran chorale "Was Gott tut, das ist wohlgetan" for viol and organ and the fantasia for viol solo on the Kyrie of the Gregorian mass "Orbis factor".

Riccardo Giavina (1937-2019) was a Piedmontese pianist and composer, later teacher and director at the "Bonporti" conservatory in Trento and Riva del Garda. As a friend of Giacomo Nones, he dedicated his three short pieces for three viols (soprano, tenor and bass) to him in April 1977. Written in the style of the late Renaissance, they aim to transfer the original literature for viola da gamba into the 20th century.

- Recorded in April 2022 in Silvelle; July, August and December 2023 in Ponte nelle Alpi; and January 2024 in Trento (Italy).