Frank Fogliati wrote:

>Marin Marais was the greatest of viol composers.  Had he written for
>instruments that are 'mainstream' and 'popular' today he would be as highly
>regarded as other barqoue greats.
>
>Fact: the viol is capable of a light but cutting tone of remarkable
>colourfulness, clarity and beauty.  Fact: the viol has a distinct ancestry
>to the cello.  Together they are an example of convergent evolution.

Perhaps maybe you mean "divergent" evolution Frank? No matter; I would
agree that the color of the viol is unique--not least from the fact
that it's constructed so differently, with 6-7 strings and a fretted
fingerboard.  Also, it's held between one's legs, no floor pegs allowed!

The viol makes for a wonderful continuo instrument, not least for its
color, which makes up for any perceived lack of power or volume.  It
certainly didn't stop Bach from using them in his Sixth Brandenburg.  I've
never heard them played side by side in a solo "match" with a cello, so I
cannot make comparisons.  But I've yet to hear a cellist's rendition of the
viol part in Marais' "Sonnerie de Ste Genevieve du Mont de Paris".  Does
one exist? I've also noticed concerts where both celli and viols are used,
with the latter for accompanying solo singers or smaller instrumental
groups, the former for orchestral tuttis.  Probably not a case of better or
worse, but different enough to co-exist in today's diverse world of HIP
practice.

Bill H.