„The Stylus Phantasticus is the most free and unrestrained type of playing“ said Johann Mattheson in 1739. Around 1700 this style was transfered from the organ to the chamber music where the viol played an important role. Famous viol virtuosos, like August Kühnel, tried to draw attention to the instrument with their compositions. Dieterich Buxtehude also wrote charming trio sonatas in which a viol was required explicitly as second solo voice. Finally the great Johann Sebastian Bach used the gamba in his St Matthew Passion. Frauke Hess and her colleagues develop the blaze of color of Baroque viol music with their new recording.

…Die CD bietet eine interessante Übersicht der verschiedenen Rollender Gambe….
(Toccata 2/2014)
Philipp Heinrich Erlebach (1657 – 1714): Sonata Terza
1. Adagio – Allegro – Lento 2:25
2. Allemande 2:26
3. Courante 1:41
4. Sarabande 1:11
5. Ciaconne 3:40
6. Final – Adagio 1:58
from: VI. Sonate à Violino e Viola da Gamba col suo Basso Continuo, Nürnberg, 1694
Johann Sebastian Bach (1685 – 1750): from: Matthäus-Passion / St. Matthew Passion BWV 244, 1729
7. Rezitativ „Ja! Freilich will in uns das Fleisch und Blut“ 0:43
8. Arie „Komm, süßes Kreuz“ 6:31
Johann Michael Kühnel (ca.1665 – after 1730): Concerto à Liuto, Viola di Gamba et Basso
9. Allegro – Adagio – Allegro 5:47
10. Adagio 1:54
11. Allegro 2:41
Brussels, Bibliothèque Royale
August Kühnel (1645 – ca. 1700):
12. Sonata III à 2 11:09
from: Sonate ô Partite ad una ô due Viola da Gamba con il Basso Continuo, Kassel, 1698
Dietrich Buxtehude (1637 – 1707): Sonata IV
13. Poco Adagio 1:19
14. Allegro 1:30
15. Lento – Adagio 3:01
16. Vivace 2:28
from: VII Sonate à due, Violino et Viola da Gamba con Cembalo, Opera Secunda, Hamburg, 1696
August Kühnel: Sonata IX
17. Sonata 9:06
18. Aria (variations) 5:55
from: Sonate ô Partite ad una ô due Viola da Gamba con il Basso Continuo, Kassel, 1698
Total time: 1:05:34
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