Gainsborough Connections: Prof. Abel and Bach

"Professor Abel", painted ca. 1777 by Thomas Gainsborough (oil on canvas), is an homage to his friend. Shown are some of the elements that first got my attention. The painting is in The Huntington Art Gallery collection.

Karl Friedrich Abel (December 22, 1723 -- June 20, 1787) was a German composer of the Classical era, spanning the life-time of Jean B, Russeau. He was a fine player on the viola da gamba, and composed important music for that instrument. Abel was born in Cöthen, the son of Christian Ferdinand Abel, the principal viola da gamba and cello player in the court orchestra of Johann Sebastian Bach. It was on Bach's recommendation that in 1748 he was able to join Johann Adolph Hasse's court orchestra at Dresden where remained for 10 years.

In 1759 he went to England, and became chamber-musician to Queen Charlotte. He gave a concert of his own compositions in London, performing on various instruments, one of which, the pentachord, was newly invented. He was a boy pupil of J.S. Bach, who in turn was a god-father to one of Abel's children.

Professor Abel occupied a unique position in the history of music. With Johann Christian Bach, he co-managed, performed and composed for one of the most successful concert organizations in London during the late 18th century. From 1765 to 1782, the popular Bach-Abel series was his principal venue, yet the instrument on which his fame rested as a performer was by then universally considered to be old-fashioned and out-of-date. Few amateurs and even fewer professionals were attracted to the viola da gamba after the close of the Baroque period. However, the music which Abel played on these concerts was anything but out-of-date.

The 'Prelude' on this recording, played on a viola da gamba by John Dornenburg, is an example; it was taken from a manuscript (New York Public Library, Drexel 5871) containing thirty pieces thought to represent the style of Abel's solo improvisations.

The main reason why the instrument fell into oblivion was becauase it's sound was not loud enough for concert halls. In the baroque and renaissance, most musical performances occurred in the home, small theaters, churches, or the palaces of the nobility. Towards the end of the 18th century and into the 19th century, performances moved from the chambers of the rich to the concert halls. The viola da gamba was not loud enough to be heard effectively and didn't fit well into an orchestra.

Thank you Martins de Sa for the "palhinha" and Harmonico, for the clarification.
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Thomas Gainsborough (Britanico, 1727-1788) pintou em ca. 1777 um óleo sobre tela que chamou "Professor Abel", uma homenagem ao seu amigo. EA belissima viola da gamba mostrada no video foi um dos primeiros elementos que me chamou a atenção no quadro, em exposicao na Galeira de Arte do Huntington, San Marino.
Dedicada a todos que apreciam o violãocelo e a viola da gamba.

Category:

Music

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• Gainsborough
• Abel
• Bach
• John
• Dornenburg
• The
• Huntington
• Gallery

[RedWasabii]

Can you tell me the name of this piece? I know it's a prelude but dont know the full name. I too am a big fan of this instrument.

[foozlefoozle]

I do not have the name at hand, but will try and find out. I'll let you know what I find.

[HARMONICO101]

Actually the main reason that the instrument fell into oblivion was becuase it's sound was not loud enough for concert halls. In the baroque and renaissance, most musical performances occured in the home, small theatres, churches, or the palaces of the nobility. Towards the end of the 18th century nad into the 19th century, performances moved from the chambers of the rich to the concert halls. The viola da gamba was not loud enought to be heard effectively and didn't fit well into an orchestra.

[GenericGene]

I found this informative and interesting - Great Post Thanks.

[ichmalealsobinich]

Gainsborough painted John christian Bach too. I thought you would also show his portrait in this video due to teh title.

[foozlefoozle]

your point is well taken. I placed an Adendum by HARMONICO101 (pls see original for complete reason)

... The viola da gamba was not loud enought to be heard effectively and didn't fit well into an orchestra.

[foozlefoozle]

you made a very good point; our city's Symphony Orchestra canceled most of this season's concerts... I feel lost, without the Pasadena Symphony Orchestra concerts.... Thanks for you comments and visit.

[foozlefoozle]

You are right about that. On advise of another viewer, I added the following statement in the bottom of the clip description.

Thank you for your visit and comments.

Adendum by HARMONICO101 (pls sse original for complete reason)

... The viola da gamba was not loud enought to be heard effectively and didn't fit well into an orchestra.

[wcbroccoli]

It doesn't make sense to hear chamber music from the the back of a huge concert hall designed for Wagnerian operas and 100 instrument orchestras.

You want to sit as close to front and center as possible. And you need lively acoustics. Not the anechoic chamber of a recording studio.

Churches often make excellent venues for these performances.

Under such conditions, I've never found a live Baroque orchestra to be especially quiet. Even a single Baroque violin can pump out a lot of sound.

[HARMONICO101]

Another thing too. With modern recording technology, we can now negate the big problem, or at least big difference, between "old" instruments and modern ones: volume. I remember when I first heard a baroque orchestra concert in person and was really surprised by how quiet it was. Thanks to CDs, we can listen to those instruments as loud as we want!

[wcbroccoli]

However, one of the problems for the survival of the 21st century orchestra (with its legacy of late 19th century instruments LOL :) is getting bodies to fill those big concert halls.

Yet public recitals of viol consort music are well attended today.

And the bass viol, considered the instrument of choice for the basso continuo, is still heard in public recitals of Baroque chamber music.

[wcbroccoli]

I've got news for you. The Baroque cello was also held between the calves.

So based, on your theory, the cello should have had the same fate as the gamba. LOL

The endpin came much, much later, in the 1830s (years after Beethoven died).

[keepthemusicplaying0]

A beautiful video - and the music is heavenly, thanks for posting!!