Utwory na płycie:

• BWV1027 Adagio
• BWV1027 Allegro ma non tanto
• BWV1027 Andante
• BWV1027 Allegro moderato
• BWV1028 Adagio
• BWV1028 Allegro
• BWV1028 Andante
• BWV1028 Allegro
• Sonata G minor BWV 1029 - Vivace
• Sonata G minor BWV 1029 - Adagio
• BWV1029 Allegro
• BWV1030 Andante
• BWV1030 Siciliano, Largo e Dolce
• BWV1030 Presto
• BWV1030 Presto

Sonata G major BWV 1027
Sonata D major * BWV 1028
Sonata G minor BWV 1029
Sonata G minor BWV 1030

Bach’s works with viola da gamba are not very numerous. Prominent are the two surviving Passions in which he employs this instrument very idiomatically: in terms of the story, the movements for viola da gamba stand at the crossroads between life and death (St. John Passion BWV 245: “It is finished”; St. Matthew Passion BWV 244: “Come, sweet cross”). The gamba also appears in this role in the Funeral Ode BWV 198 (“Let, Princess, let still a beam”) and in Actus Tragicus BWV 106 (“God’s own time”). Further cantata movements with viola da gamba are found in the cantatas BWV 76 (whose introductory movement to the second part was reused by Bach in the organ trio sonata BWV 528), BWV 152, and BWV 205. On the other hand, it is surprising when in the Sixth Brandenburg Concerto the otherwise “noblest solo instrument” is made into an unheeded tutti instrument and indeed dethroned by the then already lesser regarded instrument of the violin family, the viola.

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viola da gamba François Bodart, 1992, after “Barbey”; harpsichord Matthias Griewisch 1998, after Ioannes Ruckers 1624 claviorgan * ZankUkośnika Matthias Griewisch and ZankUkośnika Friedrich Lieb 2001