Marie Stockmarr Becker and Ilaria Macedonio offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in 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 offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in 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.
723385437215

Details

Format: CD
Label: CHC
Rel. Date: 02/05/2021
UPC: 723385437215

Bach: Sonatas for Viola (da Gamba) and Harpsichord BWV 1027-1029
Artist: Marie Becker Stockmarr / Macedonio,Ilaria
Format: CD
New: Available to Order $21.98
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Available Formats and Editions

CD
$21.98
DISC: 1

1. Bach, J S: Viola Da Gamba Sonata No. 1 in G Major, BWV1027
2. I. Adagio
3. II. Allegro Ma Non Tanto
4. III. Andante
5. IV. Allegro Moderato
6. Bach, J S: Viola Da Gamba Sonata No. 2 in D Major, BWV1028
7. I. Adagio
8. II. Allegro
9. III. Andante
10. IV. Allegro
11. Bach, J S: Viola Da Gamba Sonata No. 3 in G minor, BWV1029
12. I. Vivace
13. II. Adagio

More Info:

Marie Stockmarr Becker and Ilaria Macedonio offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in 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.

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