Bach 1027

It is perhaps a truism that virtually all so-called great composers had a special preference for the viola as da braccio (on the arm, i.e. the modern instrument) or da gamba , a versatile instrument of the viol family that was a particular focus of Baroque composers. Indeed, the Sixth Brandenburg features pairs of both instruments, da braccio and da gamba, and what would the passions be without the solo work Bach includes for each? This may have been due to the fact that one of his employers, Duke Leopold of Saxony-Anhalt-Cöthen, liked to play it, but more likely Bach liked the instrument’s versatility and distinctive timbre.

Antoine Tamestit and his artistic partner Masato Suzuki, a soloist in the famous Bach Collegium Japan, have immersed themselves in Bach’s three sonatas for viola da gamba and harpsichord in order to give a sublime interpretation of them on the viola – both instruments use the same alto clef, even if the projection of the sound is entirely different. So this is no transcription, but leaves the artists in total freedom to rediscover with delight these all too rarely played masterpieces!

Its amazing to realize how diverse and varied music JS Bach wrote in his lifetime (1685-1750). Originally written for the gamba and harpischord, these compositions translate well to the modern cello and piano as their sunny, pleasant sonorites attest. The last sonata by Bach's most musically innovative son, CPE Bach, is an added treat.Having recorded all of the major keyboard works of Bach, Angela Hewitt now picks up these "minor" pieces with cellist Daniel Muller-Schott. The compositions are not necessarily "virtuostic" - like those of Beethoven - but they among the first to give more equal partnership of the keyboard beyond continuo. These sonatas brim forth with effortless melody and quality musical development that Bach was so marvelous in composing which gives them a universal appeal.

Internationally respected musicians Daniel Palmizio (viola) and Nicolas van Poucke (piano) join forces in a double-album featuring Bach's complete gamba sonatas and Brahms two clarinet sonatas. Palmizio (recently described as a player of 'instrumental mastery' characterized by 'unselfconscious refinement') and Van Poucke ('a truly poetic musician') met at a festival in Zeeland, The Netherlands and have since worked together for several years. This album is the fruit of a deep friendship and shared love for music. Their approach to the music of both Bach and Brahms is equally steeped in tradition of the virtuosos of the golden era as it is forward looking and original. On a 17th century Testore (equipped with open gut strings) and a modern Steinway, Palmizio and Van Poucke, uncompromising in expressive intensity and counter-punctual clarity, shine a new bright light on sonatas by Bach and Brahms.