Name: Carina Cosgrave
Main Subject: Violone
Research Supervisor: Wouter Verschuren
Title of Research:
The ‘Great Dooble Basse'
Research Question:
How was the violone used during the 17th century in England?
Summary of Results:
Having thought the violone had no place in early English repertoire until the 1700s Maggie
Urqhaurt introduced me to the fantasias of Orlando Gibbons written for ‘the Great dooble basse’ This was a fascinating moment in my studies as If Orlando Gibbons was music writing for the violone, and there were players and instruments in England, then which other composers may have written repertoire specifically for this instrument? In which setting would the violone have been used in? Where else might the violone have been employed?
This presentation will look at evidence of the arrival and use of the violone in England up until 1700, the period between the death of Purcell (1695) and the arrival of Handel in London in 1710. Around 1700 the use of the violone declined and the lowest stringed bowed bass instruments began doubling the bass line an octave below. It will look at some specific examples from the repertoire that seems to ask for a violone as the bass instrument.
Biography:
Carina studied Double Bass and baroque bass with Peter Buckoke at the Royal College of Music, London, supported by a Douglas and Hilda Simmons study award.
Carina’s passion for historical performance has grown since her first encounter with historical
instruments performing Biber’s Battalia and has seen her continue her studies in this field with Maggie Urqhuart at the Koninklijk Conservatorium in The Hague. Carina is a founder member of the New Century Baroque orchestra and plays with early music ensembles in the UK, France and The Netherlands including the English Concert, Florilegium, Les Siècles, and La Serenissima.