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Instrument: Viol

Find classical music concert, opera, ballet and dance listings
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LondonDowland 400th Anniversary Weekend

Wigmore Hall
Dowland
Laurence Dreyfus; Phantasm Viol Consort; Emilia Benjamin; Heidi Gröger

LondonDowland 400th Anniversary Weekend

Wigmore Hall
Dowland: A Pilgrimes Solace
Iestyn Davies; Thomas Dunford; Mary Bevan; Benjamin Hulett

BerlinJordi Savall and Hespèrion XXI

Listing filler
Ortiz, Traditional, Sanz, Guerrero, Correa de Arauxo, Valente
Jordi Savall; Hespèrion XXI; Xavier Díaz-Latorre; Andrew Lawrence-King
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Savall and Hespèrion XXI celebrate 50 years with effortless style

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Rich sounding viols, lively percussion and spicy theorbo and guitar in eclectic consort music from Jordi Savall and Hesperian XXI in their 50th year. 
*****
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Plagues, passions and lamentation at the Ravenna Festival

Vittorio Ghielmi and his ll Suonar Parlante ensemble present a resonantly melancholy and reflective programme of music mourning loss as live performance returns to Italy.
****1
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Almira's Songbook: Handel meets the world of Spanish music

A mix of arias from Handel's first opera with music from Renaissance and Baroque Spain with an accomplished group of performers provides a rich and satisfying experience.
****1
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Handel’s La Resurrezione brought blazingly to life

Handel's La Resurrezione, anchored the Boston Early Music Festival’s Thursday programs in a dramatic reading by many of the same forces performing Campra’s La Carnaval de Venise.
****1
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Telemann insights from Boothby in Bristol

Richard Boothby gave a simple and informative evening’s concert of Telemann’s 12 fantasias at St Georges, Bristol.
***11
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Phantasm viol consort: Perilous polyphony

Fantasias for viol trio performed by members of Phantasm illustrate the inventiveness of England's best composers from the sixteenth and seventeenth centuries.
****1
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Bach stays wrapped up: The Art of Fugue with Fretwork

Bach’s final work The Art of Fugue, left incomplete at his death in 1750, has long been famous for (among other things) not having specified its instrumentation. It’s written in open score – each line of music, or “voice”, is given a distinct printed line, making it hard to guess what instrument Bach actually had in mind to play it.
***11
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