18th century codes of morality in France banned women, for reasons of 'propriety', from playing most instruments because physical posture clashed with decency, according to a contemporary source. The treble viol, which because of its small size is not held between the knees but is played (with closed legs) on the lap, was one of the exceptions. The dessus de viole or the pardessus de viole, pitched a fourth higher, is rarely heard as a solo instrument, but the treble viol only gained in importance towards the end of the 18th century. Viola da gamba player Simone Eckert devotes this double CD to two important French composers for the instrument. Louis Heudelinne was a contemporary of Marin Marais, but unlike the latter did not gain any foothold in the Versailles court of Louis XIV. His Livre Premier (1701) stands out featuring double stopping, arpeggios and extremely dexterous runs. exhausting the possibilities of the treble viol.

Charles Henri Blainville, who made his name as the author of theoretical writings, was not celebrated or successful at court either. In the heated debate over French or Italian style he neglected to give a preference, and so his Sonates pour le Dessus de Viole, which appeared c. 1750, reflect both influences.