Marie Stockmarr Becker and Ilaria Macedonio offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in Bach's time had very little sonata repertoire, and for this reason possibly 'borrowed' repertoire from the viol. The three sonatas for viola da gamba are particularly adapted to the viola da braccio with almost no changes in terms of octavations or arrangements.
Marie Stockmarr Becker and Ilaria Macedonio offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in Bach's time had very little sonata repertoire, and for this reason possibly 'borrowed' repertoire from the viol. The three sonatas for viola da gamba are particularly adapted to the viola da braccio with almost no changes in terms of octavations or arrangements.
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Marie Stockmarr Becker and Ilaria Macedonio offer a fresh and different - yet historically informed - perspective on the three sonatas for viola da gamba and harpsichord by J.S. Bach. Their rather uncommon instrumentation, explores these sonatas in their historical context and considers the fact that violists in Bach's time had very little sonata repertoire, and for this reason possibly 'borrowed' repertoire from the viol. The three sonatas for viola da gamba are particularly adapted to the viola da braccio with almost no changes in terms of octavations or arrangements.
