Mathilde Gomas

The surviving early repertoire for viola da gamba ranges from about 1600 to 1790. What if the first composer could have a chat with the last viol player?

How does Marin Marais'music compare to that of his dutch contemporary Johannes Schenk? Would Bach have composed some Viola da gamba suites if he had heard the audacious music of Forqueray?

Two by two, Tete a tete proposes to bring together some of the most significant figures of the viola da gamba history – regardless of their nations, eras, styles or generations. It'll be my pleasure to introduce them to one another and, of course, to introduce them to the audience.