Utwory na płycie:

• Sonata in E flat Major (1753) - III. Minuetto. Larghetto
• Sonata in C Minor LeeB 3.137 - I. Adagio
• Sonata in C Minor LeeB 3.137 - II. Allegretto
• Sonata in C Minor LeeB 3.137 - III. Allegro moderato
• Sonata in F Major - I. Adagio
• Sonata in F Major - II. Allegro moderato
• Sonata in F Major - III. Grazioso
• Trio in D Major FleB 2.10 for Viola and Harpsichord obbligato - I. Allegro
• Trio in D Major FleB 2.10 for Viola and Harpsichord obbligato - II. Andante
• Trio in D Major FleB 2.10 for Viola and Harpsichord obbligato - III. Tempo di Minuetto
• Trio Sonata in G Minor for Viola and Harpsichord obbligato Wq 88 - I. Allegro moderato
• Trio Sonata in G Minor for Viola and Harpsichord obbligato Wq 88 - II. Larghetto
• Trio Sonata in G Minor for Viola and Harpsichord obbligato Wq 88 - III. Allegro assai
• Sonata in C Minor Op. 2 No. 8 - I. Adagio
• Sonata in C Minor Op. 2 No. 8 - II. Allegro moderato
• Sonata in C Minor Op. 2 No. 8 - III. Siciliana
• Sonata in C Minor Op. 2 No. 8 - IV. Minuetto. Moderato
• Sonata in E flat Major (1753) - I. Adagio
• Sonata in E flat Major (1753) - II. Aria. Spiritoso, ma non presto

Carl Philipp Emanuel Bach:
Trio Sonata in G Minor for Viola and Harpsichord obbligato, Wq 88

William Flackton:
Sonata in C Minor, Op. 2 No. 8

Giorgio Antoniotto:
Sonata in E flat Major

Franz Benda:
Sonata in C Minor, LeeB 3.137
Sonata in F Major

Christlieb Siegmund Binder:
Trio in D Major, FleB 2.10, for Viola and Harpsichord obbligato

„….Original compositions for viola as a solo instrument were quite rare before 1775. There are several reasons for this, and they go back a long way. In ensembles, the viola, as the middle part, usually played a subordinate role. In court and municipal orchestras, the posts of violists were generally poorly filled in terms of both quality and of quantity – also because violists were poorly paid. The first author to highlight the viola’s pivotal role in harmony and voice-leading was Johann Mattheson (1681-1764), who pointed out in 1713 that everything would sound dissonant without the viola. Then, in 1738, Johann Philipp Eisel (1698-1763) described the viola as the “innards of music”. Further statements can be found – for instance, Johann Samuel Petri (1738-1808), in his Manual of Practical Music-Making (1782), exclaimed: “Another mistake! The viola is so mistreated! A beautiful instrument that achieves such great effect is generally put through torture by ignorant apprentices or stupid old men.” However, the fact that solo viola parts were generally entrusted to skillful violinists eventually led to the emergence of works written specifically for viola.

With this recording exclusively featuring world premieres (with the exception of Flackton) of original compositions for viola, we are thus able to provide a multi-faceted glimpse of late 18th-century repertoire for viola and keyboard – works that are mostly forgotten today. …..“ (Excerpt from the liner Notes)

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Recording: IX 2016, Weimar, Fürstenhaus, Festsaal