Pauline Sachse & Andreas Hecker - Viola Galante (2017) [Hi-Res]

Tracklist
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01. Trio in G Minor for Viola and Harpsichord Obbligato, Wq.88: I. Allegro Moderato
02. Trio in G Minor for Viola and Harpsichord Obbligato, Wq.88: II. Larghetto
03. Trio in G Minor for Viola and Harpsichord Obbligato, Wq.88: III. Allegro assai
04. Sonata in C Minor, Op. 2, No. 8: I. Adagio
05. Sonata in C Minor, Op. 2, No. 8: II. Allegro moderato
06. Sonata in C Minor, Op. 2, No. 8: III. Siciliano
07. Sonata in C Minor, Op. 2, No. 8: IV. Minuetto. Moderato.
08. Sonata in E-Flat Major: I. Adagio
09. Sonata in E-Flat Major: II. Aria. Spirituoso, ma non presto
10. Sonata in E-Flat Major: III. Minuetto. Larghetto
11. Sonata in C Minor: I. Adagio
12. Sonata in C Minor: II. Allegretto
13. Sonata in C Minor: III. Allegro moderato
14. Sonata in F Major: I. Adagio
15. Sonata in F Major: II. Allegro moderato
16. Sonata in F Major: III. Grazioso
17. Trio in D Major, Fleß 2.10 for Viola and Harpsichord Obbligato: I. Allegro
18. Trio in D Major, Fleß 2.10 for Viola and Harpsichord Obbligato: II. Andante
19. Trio in D Major, Fleß 2.10 for Viola and Harpsichord Obbligato: III. Tempo di minuetto


Pauline Sachse (viola) and Andreas Hecker (harpsichord) perform the world premiere recordings of sonatas by Antoniotto, Benda and Binder from the original manuscripts together with sonatas by CPE Bach and William Flackton.

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 premières (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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