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J.S. Bach Sonatas for Viola (da Gamba) and Harpsichord

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Tracklist

1.
Sonata BWV 1027 in G - Adagio
04:13
2.
Sonata BWV 1027 in G - Allegro ma non tanto
03:52
3.
Sonata BWV 1027 in G - Andante
02:27
4.
Sonata BWV 1027 in G - Allegro moderato
03:19
5.
Sonata BWV 1028 in D - Adagio
02:06
6.
Sonata BWV 1028 in D - Allegro
03:44
7.
Sonata BWV 1028 in D - Andante
04:55
8.
Sonata BWV 1028 in D - Allegro
04:19
9.
Sonata BWV 1029 in G minor - Vivace
05:21
10.
Sonata BWV 1029 in G minor - Adagio
06:37
11.
Sonata BWV 1029 in G minor - Allegro
03:51

Description

We offer a fresh and different – yet historically informed – perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. With our rather uncommon instrumentation, we contribute with a neglected perspective to the framework of understanding of these sonatas in their historical context. In our approach, we have been considering the fact that violists in J. S. Bach’s time had very little sonata repertoire and for this reason possibly “borrowed” repertoire from the viol. The three sonatas for viola da gamba are particularly adapted to the viola da braccio with almost no changes in terms of octavations or arrangements.

– Marie Stockmarr Becker and Ilaria Macedonio

[from liner notes]

Additional information

Artists

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Composers

Genre

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Label

Format

Type

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Production

Ragnheiður Jónsdóttir
Recording engineer

Ragnheiður Jónsdóttir
Recording location

Garnison Church, Copenhagen, Denmark
Recording date

25-29 February 2020
Analog to digital converter

Hapi/Merging Technologies
Recording format

DXD
Microphones

DPA 4006A
Cables

XLR / Thomann
Editing

Ragnheiður Jónsdóttir
Mastering engineer

Ragnheiður Jónsdóttir

Press reviews

The Strad

Marie Stockmarr Becker draws a rich, unforced tone from her 1776 Joseph Hill viola, enhancing its mellow timbre with a restrained but tellingly sweetening vibrato.

Robin Stowell - Source

MusicWeb International

(…) This is a superbly balanced recording, with good presence for the harpsichord and plenty of detail from both instruments while allowing them to blend nicely. (…) All in all these are highly satisfying performances, and you don’t need to be a viola enthusiast to appreciate them.

Dominy Clements - Source

Gramophone

Macedonio’s agogic touch, faintly bronzed in inégal, is excellent, and her fingerwork is spoken with a finely articulated grammar. The overall sound world is luscious, and the balance achieved by the team from Channel Classics is expertly judged. (…) It takes repeated listenings to understand the duo’s interpretation: denseness and prosaically played-out sequences unhelpfully dissolve the work’s structures.

Mark Seow

Custos

(…) This is a very audible, expressively moved conversation between the two musicians, the contrapuntal and concentrated play between the voices appears spirited and vibrant. (…) This creates a slight inner tension in the treatment of tempo, where the musicians keep each other in check and bring the whole into a balance that never gets slack. (…) It is content-rich and durable music in a recording that does not have to be ashamed of anyone. (…)

Jan Jacoby

CD Choice

(…) Even for Bach admirers, these are not pieces which instantly give up their secrets, but for the patient listener, there are considerable rewards. It is harder to imagine them performed with more subtle musicianship than by Marie Stockmarr Becker and Ilaria Macedonio. (…)

Barry Forshaw

Qobuz

(…) Une vision particulièrement convaincante, où les deux musiciennes se distinguent dans leur dialogue par leur entente mutuelle, leur geste ample et leur respiration fluide (…) Magnifique en tous cas, l’écoute de cette nouvelle parution Channel reste fortement recommandée.

Pierre-Yves Lascar - Source

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