Bach, C P E - Viola da gamba Sonatas - Heumann, Friederike (viola da gamba)
Leveranstid: Skickas vanligtvis inom 2-5 dagar
Friederike Heumann (viola da gamba); Gaetano Nasillo (cello); Dirk Börner (hammerflügel by Denzil Wraight, after Cristofori 1730)
Nowadays Carl Philipp Emanuel Bach finds himself either in the shadow of his famous father or labelled as the precursor of the following stylistic periods. Things were very different in the second half of the eighteenth century: the 'great Bach' referred to Carl Philipp Emanuel, the principal exponent of Sturm und Drang in music and one of the most famous keyboard virtuosos and musicologists of his time. His three sonatas for viola da gamba of 1745, 1746 and 1759 illustrate the intermediary position of a composer whose works are deeply rooted in the past, while at the same time being very forward-looking.
In the search for an appropriate keyboard, alpha decided on the hammerflügel (the first recording made on this instrument). Its flexible dynamics and the possibility of using touch to control sound production lend eloquence and a passionate quality to the melody. In order to add extra colour to the continuo, cello is added in one of the sonatas. Bach described the cello-keyboard combination as 'the most perfect accompaniment for the solo instrument, to which no one can object'.
Friederike Heumann studied viola da gamba with Jordi Savall and Paolo Pandolfo. She appears with ensembles such as Hespèrion XXI and Le Concert des Nations, Le Concerto Vocale and Les Arts Florissants. With her own ensemble Stylus Phantasticus, she has already made two recordings for Alpha.