Utwory na płycie:

• Concerto G-Dur A9:2 a Viola da Gamba Concertata, Violino Primo, Violino Secondo, Viola et Basso - Moderato
• Concerto G-Dur A9:2 a Viola da Gamba Concertata, Violino Primo, Violino Secondo, Viola et Basso - Adagio ma non troppo
• Concerto G-Dur A9:2 a Viola da Gamba Concertata, Violino Primo, Violino Secondo, Viola et Basso - Allegro
• Variationen für Viola di Gamba und Piano-Forte über ein Thema aus der Oper ,Jakob und seine Söhne" von Mehul, S[eine]r E
• Romanze ,Wartend" Opus 9 Nr. 3 Mwv K42
• Lieder Ohne Worte Opus 30 Nr. 3 Mwv U104
• [Thema con] Variation pour Viola di Gamba, Violino Primo, Violino Secundo, Clarinetto Primo, Clarinetto Secundo, Cornu I
• Abendlied Opus 85 Nr. 12
• Consolation Nr. 4 Des-Dur
• 9 Variations [sur l'air: Ei, ei, mein lieber Augustin] Oeuvre 17
• Introduction et Variations Amusantes sur l'air très favori ,Was soll ich in der Fremde thun"

Carl Friedrich Abel:
Concerto G-Dur A9:2 a Viola da Gamba Concertata, Violino Primo, Violino Secondo, Viola et Basso

Hermann Gustav Jaeschke:
Variationen für Viola di Gamba und Piano-Forte über ein Thema aus der Oper „Jakob und seine Söhne“ von Mehul, S[eine]r Excellenz … Herrn Reichsgrafen v. Malzan … gewidmet

Felix Mendelssohn Bartholdy:
Romanze „Wartend“ Opus 9 Nr. 3, MWV K42
Lieder ohne Worte Opus 30 Nr. 3, MWV U104

Friedrich Heinrich Florian Guhr:
[Thema con] Variation pour Viola di Gamba, Violino Primo, Violino Secundo, Clarinetto Primo, Clarinetto Secundo, Cornu I et II, Fagotto, Viola et Basso, dediée a son Excellenz le Comte de Malzan

Robert Schumann:
Abendlied Opus 85 Nr. 12

Franz Liszt:
Consolation Nr. 4 Des-Dur

Johann Ludwig Willing:
9 Variations [sur l’air:
Ei, ei, mein lieber Augustin] OEuvre 17

Franz Xaver Chawatal:
Introduction et Variations Amusantes sur l’air tres favori „Was soll ich in der Fremde thun“

For a long time it was considered certain that the death of the gambist Carl Friedrich Abel in 1787 had, in a way, also buried the instrument. Thomas Fritzsch also shared the traditional conviction that as a gambist he was per se excluded from participating in the sound world of the 19th century. But then he came across several sources, including one in connection with Schumann, that point to the instrument's continued existence. Here he not only presents some works on a viola da gamba of the early 19th century, but also proves impressively that the aesthetics of the Romantic period and the characteristic sound of the instrument are by no means mutually exclusive.