France, officially the French Republic, is a country primarily located in Western Europe. Its overseas regions and territories include French Guiana in South America, Saint Pierre and Miquelon in the North Atlantic in North America, the French West Indies, and many islands in Oceania and the Indian Ocean. Metropolitan France shares borders with Belgium and Luxembourg to the north; Germany to the northeast; Switzerland to the east; Italy and Monaco to the southeast; Andorra and Spain to the south, a maritime border with the United Kingdom to the northwest, and including Overseas France, it also borders Suriname and Brazil through French Guiana in South America, and the Netherlands through Saint Martin in the Caribbean. Its metropolitan area extends from the Rhine to the Atlantic Ocean and from the Mediterranean Sea to the English Channel and the North Sea. Its 18 integral regions—five of which are overseas—span a combined area of 632,702 km2 (244,288 sq mi), with a total population estimated at 69.1 million in 2026. Its capital, largest city and main cultural and economic centre is Paris. Metropolitan France was settled during the Iron Age by Celtic tribes known as Gauls before Rome annexed the area in 51 BC, leading to a distinct Gallo-Roman culture. In the Early Middle Ages, the Franks formed the kingdom of Francia, which became the heartland of the Carolingian Empire. The Treaty of Verdun of 843 partitioned the empire, with West Francia evolving into the Kingdom of France. In the High Middle Ages, France was a powerful but decentralised feudal kingdom, but from the mid-14th to the mid-15th centuries, France was plunged into a dynastic conflict with England known as the Hundred Years' War. In the 16th century, French culture flourished during the French Renaissance, and a French colonial empire emerged. Internally, France was dominated by the conflict with the House of Habsburg and the French Wars of Religion between Catholics and Huguenots. France was successful in the Thirty Years' War and further increased its influence during the reign of Louis XIV. The French Revolution of 1789 overthrew the Ancien Régime and produced the Declaration of the Rights of Man, which expresses the nation's ideals to this day. France reached its political and military zenith in the early 19th century under Napoleon Bonaparte, subjugating much of continental Europe and establishing the First French Empire. Its collapse initiated a period of relative decline during which France endured the Bourbon Restoration until the founding of the French Second Republic, which was succeeded by the Second French Empire upon Napoleon III's takeover. His empire collapsed during the Franco-Prussian War in 1870. This led to the establishment of the French Third Republic, and a period of economic prosperity and cultural and scientific flourishing known as the Belle Époque. France was one of the major participants of World War I, from which it emerged victorious at great human and economic cost. It was among the Allies of World War II, but it surrendered and was occupied by Germany in 1940. Following its liberation in 1944, the short-lived Fourth Republic was established and later dissolved over the course of the Algerian War. The current Fifth Republic, a semi-presidential system, was formed in 1958 by Charles de Gaulle. Algeria and most French colonies became independent in the 1960s, with the majority retaining close economic and military ties with France. France retains its centuries-long status as a global centre of art, science, and philosophy. It hosts the fourth-largest number of UNESCO World Heritage Sites, with 54 in total, and is the world's leading tourist destination, having received 102 million foreign visitors in 2025. A developed country, France has a high nominal per capita income globally, and its economy ranks among the largest in the world by both nominal GDP and PPP-adjusted GDP. It is a great power, being one of the five permanent members of the United Nations Security Council and an official nuclear-weapon state. The country is part of multiple international organisations and forums.

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

This is a list of 18th-century chaconnes. Included are all pieces of 18th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 18th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

A chaconne ( shə-KON, French: [ʃakɔn]; Spanish: chacona [tʃaˈkona]; Italian: ciaccona [tʃakˈkoːna]; earlier English: chacony) is a type of musical composition often used as a vehicle for variation on a repeated short harmonic progression, often involving a fairly short repetitive bass-line (ground bass) which offers a compositional outline for variation, decoration, figuration and melodic invention. In this it closely resembles the passacaglia. It originates and was particularly popular in the Baroque era; a large number of Chaconnes exist from the 17th and 18th centuries. The ground bass, if there is one, may typically descend stepwise from the tonic to the dominant pitch of the scale; the harmonies given to the upper parts may emphasize the circle of fifths or a derivative pattern thereof.

Le Touquet-Paris-Plage (French pronunciation: [lə tukɛ paʁi plaʒ] ; Picard: Ech Toutchet-Paris-Plache), commonly referred to as Le Touquet (), is a commune near Étaples, in the Pas-de-Calais department, northern France. It has a permanent population of 4,224 (2023) but it welcomes up to 250,000 people during the summer, so the population at any given time during high season in summer swells to about 30,000. Located on the Opal Coast of the English Channel at the estuary of the river Canche, the commune is one of the most renowned seaside resorts in France, with a wide range of sports and leisure activities. The name "Le Touquet" is attested in the mid-18th century to designate the cape next to which the town was built. Alphonse Daloz, a notary in Paris, bought the land on the cape, planted a forest and built a small palace there, and in 1882 founded the seaside resort as Paris-Plage. John Whitley, an English businessman, saw a lucrative opportunity to build a resort for (mostly) English and French elites, so he became the owner of most of the town's lands. The construction boom that followed his acquisition led to the government recognising Paris-Plage as a separate commune in 1912. Numerous prestigious hotels were built, and at its peak of prosperity in the Roaring Twenties, the resort boasted the biggest casino in France by revenue, ultra-luxury hotels and an upscale clientele. The bustling town had good transport connections thanks to a tram line and a narrow-gauge train line to Étaples, and, since 1936, a dedicated airport. The Great Depression brought some problems to the resort but it still remained popular with the British upper class. World War II, however, brought extensive destruction as the Germans deployed about 100,000 mines and the Allies bombarded the resort in 1944. After World War II, most of the upper class chose vacations on the French Riviera instead, and the property they sold was bought up by well-off locals. While most of the original buildings were lost due to destruction during World War II, some surviving villas represent the unique architectural style that was popular in the interwar period. 21 buildings in the commune are protected as historical monuments. Le Touquet also has extensive natural heritage protection because of its dunes and the unique nature of the Canche estuary. This, together with its initial inception as an upper-class resort with extensive sports facilities, which it still mostly is, contributes to consistently high positions in quality-of-life rankings. Today, most of its permanent population is retired. President Emmanuel Macron often spends time in Le Touquet and votes there because Brigitte, his wife, has strong ties to the town and inherited a villa in 1985.

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

This article lists compositions written for the viola. The list includes works in which the viola is a featured instrument: viola solo, viola and piano, viola and orchestra, ensemble of violas, etc. Catalogue number, date of composition and publisher (for copyrighted works) are also included. Ordering is by composer surname. This pages lists composers whose surname falls into the L to N alphabetic range. For others, see respective pages: List of compositions for viola: A to B List of compositions for viola: C to E List of compositions for viola: F to H List of compositions for viola: I to K List of compositions for viola: O to R List of compositions for viola: S List of compositions for viola: T to Z

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

The demography of France is monitored by the Institut national d'études démographiques (INED) and the Institut national de la statistique et des études économiques (INSEE). As of 1 January 2026, in Metropolitan France 66,792,845 people lived, while 2,289,151 lived in overseas France, for a total of 69,081,996 inhabitants in the French Republic. In the 2010s and until 2017, the population of France grew by 1 million people every three years - an average annual increase of 340,000 people, or +0.6%. France was historically Europe's most populous country. During the Middle Ages, more than one-quarter of Europe's total population was French; by the seventeenth century, this had decreased slightly to one-fifth. By the beginning of the nineteenth century, other European countries, such as Germany and Russia, had caught up with France and overtaken it in number of people. The country's population sharply increased with the baby boom following World War II, as it did in other European countries. According to INSEE, from the year 2004, 200,000 immigrants entered the country annually. One out of two was born in Europe and one in three in Africa. Between 2009 and 2012, the number of Europeans migrating to France increased sharply (an annual increase of 12%), but this percentage decreased steadily until 2022, supplanted by a rise in the number of immigrants from Africa. The national birth rate, after dropping for a time, began to rebound in the 1990s, and the country's fertility rate was close to the replacement level until about 2014. According to a 2006 INSEE study, the natural increase was close to 300,000 people a year, a level that had "not been reached in more than thirty years." With a total fertility rate of 1.59 (for France métropolitaine) in 2024, France remains one of the above-average fertile countries in the European Union, but it is now far from the replacement level. In 2021, the total fertility rate of France was 1.82, and 7.7% was the percentage of births, where this was a women's 4th or more child. Among the 802,000 babies born in metropolitan France in 2010, 80.1% had two French parents, 13.3% had one French parent, and 6.6% had two non-French parents. Between 2006 and 2008, about 22% of newborns in France had at least one foreign-born grandparent (9% born in another European country, 8% born in the Maghreb and 2% born in another region of the world). Censuses on race and ethnic origin were banned by the French government in 1978.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

Cherbourg is a former commune and subprefecture located at the northern end of the Cotentin peninsula in the northwestern French department of Manche. It was merged into the commune of Cherbourg-Octeville on 28 February 2000, which was merged into the new commune of Cherbourg-en-Cotentin on 1 January 2016. Cherbourg is protected by Cherbourg Harbour, between La Hague and Val de Saire, and the city has been a strategic position over the centuries, disputed between the English and French. Cited as one of the "keys to the kingdom" by Vauban, it became, by colossal maritime development work, a first-rate military port under the leadership of Napoleon I, and holds an arsenal of the French Navy. A stopping point for prestigious transatlantic liners in the first half of the 20th century, Cherbourg was the primary goal of US troops during the invasion of Normandy in 1944. Along with its use as a military, fishing and yachting port, it is also a cross-Channel ferry port, with routes to the English ports of Poole and Portsmouth, and to Dublin and Rosslare Harbour in Ireland. Limited by its geographical isolation from being a great commercial port, it is nonetheless an important shipbuilding centre, and a working-class city with a rural hinterland.

Myriam Rignol (born 1988) is a French viola da gamba player and teacher.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

This is a list of 18th-century chaconnes. Included are all pieces of 18th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 18th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

Hille Perl (born Hildegard Perl born 1965 in Bremen) is a German virtuoso performer of the viola da gamba and lirone.

Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the late Baroque period. He is known for his prolific output across a variety of instruments and forms, including the orchestral Brandenburg Concertos; solo instrumental works such as the Cello Suites and Sonatas and Partitas for Solo Violin; keyboard works such as the Goldberg Variations and The Well-Tempered Clavier; organ works such as the Schübler Chorales and the Toccata and Fugue in D minor; and choral works such as the St. Matthew Passion and the Mass in B minor. He is known for his mastery of counterpoint, as heard in The Musical Offering and The Art of Fugue. Felix Mendelssohn precipitated the Bach Revival with a performance of the St. Matthew Passion in 1829. Ever since, Bach has been acclaimed as one of the greatest composers of classical music. The Bach family had already produced several composers when Johann Sebastian was born in Eisenach, the youngest child of the city musician Johann Ambrosius Bach. After being orphaned at age 10, he lived for five years with his eldest brother, Johann Christoph, then continued his musical education in Lüneburg. In 1703 he returned to Thuringia, working as a musician for Protestant churches in Arnstadt and Mühlhausen. Around that time he also paid extended visits to the courts in Weimar, where he expanded his organ repertory, and the reformed court at Köthen, where he was mostly engaged with chamber music. By 1723 he was hired as Thomaskantor, church music director of the city of Leipzig and thus responsible for music in four Lutheran city churches and for the St. Thomas School. He decided to compose annual cycles of church cantatas, and also wrote music for Leipzig University's student ensemble, Collegium Musicum. In 1726 he began publishing his organ and other keyboard music. In Leipzig, he had difficult relations with his employer, as he had during some of his earlier positions. This situation was somewhat remedied when his sovereign, Augustus III of Poland, granted him the title of court composer of the Elector of Saxony in 1736. In the last decades of his life, Bach reworked and extended many of his earlier compositions. He died due to complications following eye surgery in 1750 at the age of 65. Four of his twenty children, Wilhelm Friedemann, Carl Philipp Emanuel, Johann Christoph Friedrich, and Johann Christian, became composers. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from abroad, particularly Italy and France. His compositions include hundreds of cantatas, both sacred and secular. He composed Latin church music, Passions, oratorios, and motets. He adopted Lutheran hymns, not only in his larger vocal works but also in such works as his four-part chorales and his sacred songs. Bach wrote extensively for organ and other keyboard instruments. He composed concertos, for instance for violin and for harpsichord, and suites, as chamber music as well as for orchestra. Many of his works use contrapuntal techniques like canon and fugue. Several decades after his death, in the 18th century, Bach was still primarily known as an organist. Several biographies of Bach were published in the 19th century, and by the end of that century all of his known music had been printed. Dissemination of Bach scholarship continued through periodicals (and later websites) devoted to him, other publications such as the Bach-Werke-Verzeichnis (BWV, a numbered catalogue of his works), and new critical editions of his compositions. His music was further popularised by a multitude of arrangements, including the "Air on the G String" and "Jesu, Joy of Man's Desiring", and recordings, among them three boxed sets of performances of his complete oeuvre marking the 250th anniversary of his death.

The viola da gamba (Italian: [ˈvjɔːla da (ɡ)ˈɡamba, viˈɔːla -]), or viol, or informally gamba, is a bowed and fretted string instrument that is played da gamba (i.e. "on the leg"). It is distinct from the later violin, or viola da braccio; and it is any one of the earlier viol family of bowed, fretted, and stringed instruments with hollow wooden bodies and pegboxes where the tension on the strings can be increased or decreased to adjust the pitch of each of the strings. Although treble, tenor and bass were most commonly used, viols came in different sizes, including pardessus (high treble, developed in 18th century), treble, alto, small tenor, tenor, bass and contrabass (called violone). These members of the viol family are distinguished from later bowed string instruments, such as the violin family, by both appearance and orientation when played—as typically the neck is oriented upwards and the rounded bottom downwards to settle on the lap or between the knees. The viola da gamba uses the alto clef. Seven and occasionally eight frets made of "stretched gut" are tied on the fingerboard around the instrument's neck. Frets tied in this manner—instead of permanently fixed as on a guitar—allow for fine-tuning of the instrument. (Frets enable the performer to stop the strings more cleanly, improve consistency of intonation and lend the stopped notes a tone that better matches the open strings.) Viols first appeared in Spain and Italy in the mid-to-late 15th century, and were most popular in the Renaissance and Baroque (1600–1750) periods. Early ancestors include the Arabic rebab and the medieval European vielle, but later, more directly possible ancestors include the Venetian viole and the 15th- and 16th-century Spanish vihuela, a six-course plucked instrument tuned like a lute (and also like a present-day viol) that (at the time) looked like, but was quite distinct from, the four-course guitar (an earlier chordophone). It should also be mentioned that the Arabic rebab originally comes from a Persian instrument called rubāb. Although bass viols superficially resemble cellos, viols are different in several respects from instruments of the violin family: the viol family has flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings. Additional differences include tuning strategy—in fourths, with a third in the middle, rather than in fifths (similar to a lute)—the presence of frets, and underhand rather than overhand bow grip. A modern player of the viol is commonly known as a gambist, violist , or violist da gamba. Notably, "violist" is a homograph of the word commonly used since the mid-20th century to refer to a player of the viola, which can cause confusion in written/printed texts when not clear from the context.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. Since no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts. Historical treatises, pedagogic tutor books, and concert critiques, as well as additional historical evidence, are all used to gain insight into the performance practice of a historic era. Extant recordings (cylinders, discs, and reproducing piano rolls) from the 1890s onwards have enabled scholars of 19th-century Romanticism to gain a uniquely detailed understanding of this style, although not without significant remaining questions. In all eras, HIP performers will normally use original sources (manuscript or facsimile), or scholarly or urtext editions of a musical score as a basic template, while additionally applying a range of contemporaneous stylistic practices, including rhythmic alterations and ornamentation of many kinds. Historically informed performance was principally developed in a number of Western countries in the mid to late 20th century, ironically a modernist response to the modernist break with earlier performance traditions. Initially concerned with the performance of Medieval, Renaissance, and Baroque music, HIP now encompasses music from the Classical and Romantic eras. HIP has been a crucial part of the early music revival movement of the 20th and 21st centuries, and has begun to affect the theatrical stage, for instance in the production of Baroque opera, where historically informed approaches to acting and scenery are also used. Some critics contest the methodology of the HIP movement, contending that its selection of practices and aesthetics are a product of the 20th century and that it is ultimately impossible to know what performances of an earlier time sounded like. The older the style and repertoire, the greater the cultural distance and the increased possibility of misunderstanding the evidence. For this reason, the term "historically informed" is now preferred to "authentic", as it acknowledges the limitations of academic understanding, rather than implying absolute accuracy in recreating historical performance style or a moralising tone.

Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. Since no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts. Historical treatises, pedagogic tutor books, and concert critiques, as well as additional historical evidence, are all used to gain insight into the performance practice of a historic era. Extant recordings (cylinders, discs, and reproducing piano rolls) from the 1890s onwards have enabled scholars of 19th-century Romanticism to gain a uniquely detailed understanding of this style, although not without significant remaining questions. In all eras, HIP performers will normally use original sources (manuscript or facsimile), or scholarly or urtext editions of a musical score as a basic template, while additionally applying a range of contemporaneous stylistic practices, including rhythmic alterations and ornamentation of many kinds. Historically informed performance was principally developed in a number of Western countries in the mid to late 20th century, ironically a modernist response to the modernist break with earlier performance traditions. Initially concerned with the performance of Medieval, Renaissance, and Baroque music, HIP now encompasses music from the Classical and Romantic eras. HIP has been a crucial part of the early music revival movement of the 20th and 21st centuries, and has begun to affect the theatrical stage, for instance in the production of Baroque opera, where historically informed approaches to acting and scenery are also used. Some critics contest the methodology of the HIP movement, contending that its selection of practices and aesthetics are a product of the 20th century and that it is ultimately impossible to know what performances of an earlier time sounded like. The older the style and repertoire, the greater the cultural distance and the increased possibility of misunderstanding the evidence. For this reason, the term "historically informed" is now preferred to "authentic", as it acknowledges the limitations of academic understanding, rather than implying absolute accuracy in recreating historical performance style or a moralising tone.

Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. Since no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts. Historical treatises, pedagogic tutor books, and concert critiques, as well as additional historical evidence, are all used to gain insight into the performance practice of a historic era. Extant recordings (cylinders, discs, and reproducing piano rolls) from the 1890s onwards have enabled scholars of 19th-century Romanticism to gain a uniquely detailed understanding of this style, although not without significant remaining questions. In all eras, HIP performers will normally use original sources (manuscript or facsimile), or scholarly or urtext editions of a musical score as a basic template, while additionally applying a range of contemporaneous stylistic practices, including rhythmic alterations and ornamentation of many kinds. Historically informed performance was principally developed in a number of Western countries in the mid to late 20th century, ironically a modernist response to the modernist break with earlier performance traditions. Initially concerned with the performance of Medieval, Renaissance, and Baroque music, HIP now encompasses music from the Classical and Romantic eras. HIP has been a crucial part of the early music revival movement of the 20th and 21st centuries, and has begun to affect the theatrical stage, for instance in the production of Baroque opera, where historically informed approaches to acting and scenery are also used. Some critics contest the methodology of the HIP movement, contending that its selection of practices and aesthetics are a product of the 20th century and that it is ultimately impossible to know what performances of an earlier time sounded like. The older the style and repertoire, the greater the cultural distance and the increased possibility of misunderstanding the evidence. For this reason, the term "historically informed" is now preferred to "authentic", as it acknowledges the limitations of academic understanding, rather than implying absolute accuracy in recreating historical performance style or a moralising tone.

Historically informed performance (also referred to as period performance, authentic performance, or HIP) is an approach to the performance of classical music which aims to be faithful to the approach, manner and style of the musical era in which a work was originally conceived. It is based on two key aspects: the application of the stylistic and technical aspects of performance, known as performance practice; and the use of period instruments which may be reproductions of historical instruments that were in use at the time of the original composition, and which usually have different timbre and temperament from their modern equivalents. A further area of study, that of changing listener expectations, is increasingly under investigation. Since no sound recordings exist of music before the late 19th century, historically informed performance is largely derived from musicological analysis of texts. Historical treatises, pedagogic tutor books, and concert critiques, as well as additional historical evidence, are all used to gain insight into the performance practice of a historic era. Extant recordings (cylinders, discs, and reproducing piano rolls) from the 1890s onwards have enabled scholars of 19th-century Romanticism to gain a uniquely detailed understanding of this style, although not without significant remaining questions. In all eras, HIP performers will normally use original sources (manuscript or facsimile), or scholarly or urtext editions of a musical score as a basic template, while additionally applying a range of contemporaneous stylistic practices, including rhythmic alterations and ornamentation of many kinds. Historically informed performance was principally developed in a number of Western countries in the mid to late 20th century, ironically a modernist response to the modernist break with earlier performance traditions. Initially concerned with the performance of Medieval, Renaissance, and Baroque music, HIP now encompasses music from the Classical and Romantic eras. HIP has been a crucial part of the early music revival movement of the 20th and 21st centuries, and has begun to affect the theatrical stage, for instance in the production of Baroque opera, where historically informed approaches to acting and scenery are also used. Some critics contest the methodology of the HIP movement, contending that its selection of practices and aesthetics are a product of the 20th century and that it is ultimately impossible to know what performances of an earlier time sounded like. The older the style and repertoire, the greater the cultural distance and the increased possibility of misunderstanding the evidence. For this reason, the term "historically informed" is now preferred to "authentic", as it acknowledges the limitations of academic understanding, rather than implying absolute accuracy in recreating historical performance style or a moralising tone.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

Roland Pierre Marais (c. 1685, Paris – c. 1750, Paris) was a French viol player and composer. He was the son of the composer Marin Marais (1656–1728). His compositions are written in a similar style to his father's.

Hille Perl (born Hildegard Perl born 1965 in Bremen) is a German virtuoso performer of the viola da gamba and lirone.

The Sonata in G major for two flutes and basso continuo, BWV 1039, is a trio sonata by Johann Sebastian Bach. It is a version, for a different instrumentation, of the Gamba Sonata, BWV 1027. The first, second and fourth movement of these sonatas also exist as a trio sonata for organ.

This article lists compositions written for the viola. The list includes works in which the viola is a featured instrument: viola solo, viola and piano, viola and orchestra, ensemble of violas, etc. Catalogue number, date of composition and publisher (for copyrighted works) are also included. Ordering is by composer surname. This pages lists composers whose surname falls into the L to N alphabetic range. For others, see respective pages: List of compositions for viola: A to B List of compositions for viola: C to E List of compositions for viola: F to H List of compositions for viola: I to K List of compositions for viola: O to R List of compositions for viola: S List of compositions for viola: T to Z

Roland Pierre Marais (c. 1685, Paris – c. 1750, Paris) was a French viol player and composer. He was the son of the composer Marin Marais (1656–1728). His compositions are written in a similar style to his father's.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

Roland Pierre Marais (c. 1685, Paris – c. 1750, Paris) was a French viol player and composer. He was the son of the composer Marin Marais (1656–1728). His compositions are written in a similar style to his father's.

Marin Marais (French: [maʁɛ̃ maʁɛ]; 31 May 1656, Paris – 15 August 1728, Paris) was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725. He was the father of the composer Roland Marais (c. 1685 – c. 1750).

This is a list of 18th-century chaconnes. Included are all pieces of 18th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 18th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.

The Concerts royaux (singular: Concert royal; English: Royal Concerts) are chamber music suites by François Couperin written for the court of Louis XIV. Each consists of a prelude and a succession of dances in the order allemande, sarabande or courante, followed by others – but the suites are intended for listening more than dancing. Four were produced in 1714 and published in 1722. Another ten followed in 1724, now called Nouveaux concerts, ou les Goûts réunis (referring to the "reunited" French and Italian musical tastes). Neither of the two sets has fixed instrumentation: each suite can be played by solo harpsichord or an ensemble with a bass and three melody instruments, such as a violin, a viol, and an oboe or flute. (This freedom is found also in works by Marin Marais and Gaspard Le Roux.) The first and more frequently played of the sets is as follows: Premier concert in G Major Prélude Allemande Sarabande Gavotte Gigue Menuet en trio Deuxième concert in D Major Prélude Allemande fuguée Air tendre Air contrefugué Echos Troisième concert in A Major Prélude Allemande Courante Sarabande grave Gavotte Musette Chaconne légère Quatrième concert in E Minor Prélude Allemande Courante française Courante à l'italienne Sarabande Rigaudon Forlane

This is a list of chaconnes composed in the 17th century. Included are all pieces of 17th-century music, or clearly marked off sections of pieces, labeled "chaconne" (or some variant of that word) by their composers, that have been found by contributors to this article among the works of musicians, musicologists, and music historians. A few pieces not labeled "chaconne" by their composers, when they have been clearly identified as chaconnes by later commentators, have also been included. A definitive list would be impossible to make, because there was in the 17th century, and there remains today, disagreement about the defining characteristics of a chaconne. That subject is treated in the article Chaconne. Jump to decade:

This is a list of Private Passions episodes from 2000 to 2004. It does not include repeated episodes or compilations.