Opus Klassiek

Bach’s sonatas for viola da gamba and (obbligato) harpsichord, although these also fall under the collective denominator of ‘Soli Deo Gloria’ (All in Honor of God), show the swirling vibrancy and melodic, rhythmic, and harmonic flexibility that we so like to associate with secular music.

Just as important, of course, is the performance, which is filled with the esprit that this music demands and which, thanks to the characterization highlighted by this phenomenal duo, produces a sublime Bach image. The fact that the viola da gamba had to give way to the viola for the occasion, thanks to the flawless play of Marie Stockmarr Becker, I did not experience a moment as an objection, of course helped by the flawless harpsichord play of Ilaria Macedonio (on an instrument that silences every criticism in advance). Strong is also the duo game that leaves no misunderstanding that both musicians must have explored this repertoire in depth before.

The recording staff did not come from Herwijnen this time. On the fall of Covid-19, the recording took place in the Garrison Church in Copenhagen by Ragnheidur Jonsdotír, who – it can be heard – understands her profession as excellently as Jared Sacks of Channel Classics. Ragnheidur did the whole job on her own, as a producer, engineer, editor and in the final phase also the mastering. Wow!

Finally, some details about the instruments used. The viola is by Joseph Hill, London 1776, the bow of Eitan Hoffer, 2019 (modeled after an English bow from around 1720). The harpsichord, a double manual, was manufactured by the famous Joop Klinkhamer, Amsterdam 1990, after a model by Johann Heinrich Harass, Thuringia, c. 1700.

Aart van der Wal - Source