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Sonatas 1 & 3 Import


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Audio CD, Import, June 26, 2007
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$20.69

1. Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027: Adagio
2. Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027: Allegro ma non tanto
3. Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027: Andante
4. Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027: Allegro moderato
5. Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028: Adagio
6. Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028: Allegro
7. Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028: Andante
8. Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028: Allegro
9. Sonata for viola da gamba & keyboard No. 3 in G minor, BWV 1029: Vivace
10. Sonata for viola da gamba & keyboard No. 3 in G minor, BWV 1029: Adagio
11. Sonata for viola da gamba & keyboard No. 3 in G minor, BWV 1029: Allegro
12. Sonata for viola da gamba & continuo in D major, H. 559, Wq. 137: Adagio ma non tanto
13. Sonata for viola da gamba & continuo in D major, H. 559, Wq. 137: Allegro con brio
14. Sonata for viola da gamba & continuo in D major, H. 559, Wq. 137: Arioso

Product Details

  • Audio CD (June 26, 2007)
  • Number of Discs: 1
  • Format: Import
  • Label: Orfeo
  • ASIN: B000RGSVL2
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #566,567 in Music (See Top 100 in Music)

Customer Reviews

4.3 out of 5 stars
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67%
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33%
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Most Helpful Customer Reviews

14 of 15 people found the following review helpful By Alan Lekan on March 30, 2008
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.

Listening to this similar-temperament pair of fine musicians play these pieces, one would be hard-pressed to find something not to like (barring a conflict with use of modern instruments for some perhaps). Both relax nicely into these works. Hewitt's Bach is well known and Muller-Schott brings an attractive, luminously coloured sound and texture to the reading. His intonation and judicious use of vibrato sounds silky smooth on the 1727 Matteo Goffriller cello he uses. It makes for wonderful, nourishing music to play often - like on a relaxing Sunday morning. And the Orfeo sound and ideal instrument balance brings them fully to life (to me the sound is better than the Hyperion sound of Hewitt's many recordings). I also like their treatment and sound environment slightly better than another modern instrument performance of Maiskey/Argerich. A beautiful CD. [55 minutes] Compositions - 4.5 stars; Performance - 5 stars; Sound quality - 5 stars.
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2 of 3 people found the following review helpful By Bill Staley on August 31, 2010
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Angela Hewitt brings everything she knows about Bach to the task of accompanying the cellist in these wonderful pieces. It's an extraordinary, beautiful dialogue. They each have so much to tell us about the piece, incredible talents to convey it, and seem to enjoy playing together. "Sunday morning Bach" is a great way to describe the unhurried tempo. The CPE Bach sonata is nice, too. This recording is worth tracking down. It's a shame that it is not available for download. I like the Angela Hewitt recording a little better than the Martha Agerich version, but they are both wonderful.
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5 of 9 people found the following review helpful By pohjola on February 19, 2009
I was very disappointed in this release, mainly because I thought the recording balance put undue weight on the cello at the expense of the piano. Angela Hewitt's left hand, in particular, was nearly inaudible. This is a big problem, because the main reason I wanted to hear the work with piano instead of harpsichord was to hear Bach's fascinating base lines. The musicianship is at a high level, but the engineering ruined it for me.
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