Sofia Diniz, Fernando Miguel Jalôto - L'echo Du Danube (2024) [Hi-Res]

Tracklist

CD1
01. Sonata No. 1 in D Major: I. Vivace - Adagio
02. Sonata No. 1 in D Major: II. Vivace
03. Sonata No. 1 in D Major: III. Adagio e Tremolo
04. Sonata No. 1 in D Major: IV. Aria Largo
05. Sonata No. 1 in D Major: V. Allegro - Prestissimo
06. Sonata No. 1 in D Major: VI. Adagio
07. Sonata No. 1 in D Major: VII. Allegro
08. Sonata No. 5 in E Minor: I. Adagio
09. Sonata No. 5 in E Minor: II. Aria Largo
10. Sonata No. 5 in E Minor: III. Gavotta Presto
11. Sonata No. 5 in E Minor: IV. Adagio
12. Sonata No. 5 in E Minor: V. Giga Vivace
13. Sonata No. 5 in E Minor: VI. Aria
14. Sonata No. 3 in F sharp Minor: I. Adagio - Allegro - Adagio - Vivace - Adagio
15. Sonata No. 3 in F sharp Minor: II. Allemanda
16. Sonata No. 3 in F sharp Minor: III. Corrente
17. Sonata No. 3 in F sharp Minor: IV. Sarabanda
18. Sonata No. 3 in F sharp Minor: V. Giga
19. Sonata No. 3 in F sharp Minor: VI. Gavotta 1ma
20. Sonata No. 3 in F sharp Minor: VII. Gavotta 2da

CD2
01. Sonata No. 2 in A Minor: I. Adagio
02. Sonata No. 2 in A Minor: II. Giga
03. Sonata No. 2 in A Minor: III. Corrente
04. Sonata No. 2 in A Minor: IV. Adagio
05. Sonata No. 2 in A Minor: V. Vivace - Largo - Vivace
06. Sonata No. 6 in A Minor: I. Adagio - Allegro - Adagio
07. Sonata No. 6 in A Minor: II. Presto
08. Sonata No. 6 in A Minor: III. Adagio
09. Sonata No. 6 in A Minor: IV. Aria Largo - Vivace - Largo - Allegro - Largo - Largo
10. Sonata No. 6 in A Minor: V. Aria Adagio
11. Sonata No. 6 in A Minor: VI. Giga
12. Sonata No. 4 in E flat Major: I. Adagio
13. Sonata No. 4 in E flat Major: II. Allegro
14. Sonata No. 4 in E flat Major: III. Adagio
15. Sonata No. 4 in E flat Major: IV. Prestissimo
16. Sonata No. 4 in E flat Major: V. Allemanda
17. Sonata No. 4 in E flat Major: VI. Corrente
18. Sonata No. 4 in E flat Major: VII. Sarabande
19. Sonata No. 4 in E flat Major: VIII. Giga
20. Sonata No. 4 in E flat Major: IX. Menuetto



L’Echo du Danube is the poetic title given by Johann Schenck to his collection of pieces for viola da gamba, first published around 1703/04 as Opus 9 in Amsterdam by Estienne Roger — the most important music printer at the time. L’Echo du Danube is Schenk’s last complete work to survive, a fact that gives these pieces the weight of a “musical testament. It comprises six sonatas for solo viol: the first two sonatas with basso continuo accompaniment, the next two also with basso continuo but this time ad libitum (optional), and the two last ones for viola da gamba without any accompaniment. Although Marin Marais already had published his first book of Pièces de Viole in 1686 and the flourishing English viol tradition was well known in Northern Europe, Schenk’s approach to the instrument is an important step in the process of creating an independent repertoire, specifically written for the viol by composers who were themselves performers and masters of its idiomatic idiosyncrasies. Although Schenck fully explores the potential of the viol as a melodic instrument, he clearly favoured, its possibilities of playing chords, in a manner strongly influenced by lute playing and repertoire: he sought to show the viol as an instrument that is harmonically independent, appropriate for polyphonic writing besides its talent for melodic singing. Hence his writing in such a distinctive way: abundantly using chords and double stops; continually alternating between the bass and the high register; and striving for an effective combination of luxurious harmony and depth of sound, without losing sight of the delicately cantabile voice of the viola.

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