Sonaten für Gambe und Basso continuo
Between Baroque emotion and classical structure
These sonatas for viola da gamba and harpsichord (or continuo) areamong the last ever written for the instrument. A favourite of Baroquecomposers, the viola da gamba was already being supplanted by thelong-since perfected violoncello. And yet, it is not surprising thatbetween 1745 and 1759 C.P.E. Bach, who was so strongly drawn to theemotive power of music, should have devoted three works to aninstrument capable of 'imitating the human voice in all itsmodulations, even to its most private feelings of sorrow and of joy...'(Mersenne). The harpsichord sonatas are resolutely turned towards thefuture; the Viennese style is already in sight.
This title was released for the first time in 1992.
Künstler
- London Baroque
- Richard EgarrCembalo
Komponisten
Programm
CARL PHILIPP EMANUEL BACH [1714-1788]
Sonata for viola da gamba and continuo in D major, Wq.137
· I. Adagio ma non tanto (2'51)
· II. Allegro di molto (6'19)
· III. Arioso (5'27)
Württemberg Sonata no.1 in A minor, Wq.49/1
· I. Moderato (5'13)
· II. Andante (3'07)
· III. Allegro assai (3'51)
Sonata for viola da gamba and continuo in C major, Wq.136
· I. Andante (3'16)
· II. Allegretto (6'30)
· III. Arioso (4'13)
Prussian Sonata no.3 in E major, Wq.48/3
· I. Poco allegro (3'50)
· II. Adagio (3'18)
· III. Presto (2'45)
Sonata for viola da gamba and harpsichord obligato in G minor, Wq.88
· I. Allegro moderato (7'47)
· II. Larghetto (4'07)
· III. Allegro assai (5'22)
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