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Js Bach Transcriptions for Viola Da Gamba
 
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Js Bach Transcriptions for Viola Da Gamba

1 Oct 2012 | Format: MP3

£7.99 (VAT included if applicable)
Song Title
Time
Popularity  
30
1
4:38
30
2
4:49
30
3
3:27
30
4
5:01
30
5
2:01
30
6
2:20
30
7
4:27
30
8
9:29
30
9
5:15
30
10
4:33
30
11
5:37
30
12
3:10
30
13
4:36
30
14
4:49
30
15
15:14


Product details

  • Original Release Date: 1 Oct 2012
  • Label: Dagamba.com
  • Copyright: 2012 Susanne Heinrich
  • Total Length: 1:19:26
  • Genres:
  • ASIN: B009T08EZ0
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 74,672 in MP3 Albums (See Top 100 in MP3 Albums)

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3 of 3 people found the following review helpful By Sid Nuncius HALL OF FAMETOP 10 REVIEWER on 16 Jun 2013
Format: MP3 Download
This another wonderful disc from Susanne Heinrich. I loved both of her previous solo discs of Abel and Hume on Hyperion and I was lucky enough to receive this as a review copy from her new label, Da Gamba. It is terrific. Heinrich has transcribed the E major and D minor Partitas (BWV1006 and 1004) and the A minor Sonata (BWV 1003) for viola da gamba from Bach's autograph score for solo violin. There is no arrangement other than a couple of necessary minor changes and the pieces are played as written by Bach. The effect is lovely.

What is really striking is the effect of a genuine bass line. Although I can't quite agree with Heinrich when she says that there is something lacking in the music when played on a violin, the depth and resonance of the gamba's bass line does bring something rather wonderful to it. It's not so much that it sheds new light on the music, but more (to risk over-stretching the metaphor) that it holds it up to the light differently so that it glows and sparkles in a new way. The deeper tone of the gamba and Heinrich's slightly slower tempi than some violinists give the music both a warmth and a sense of gravitas which I love.

What really makes this special is Susanne Heinrich's playing. She says in her notes that "Anyone who has reservations about the idea need not worry: playing this music on the bass viol is so difficult it is unlikely to start a trend." Well, you wouldn't know it to listen to her play. It all sounds effortless and as natural as breathing from the charming and lively E major Preludio which opens the disc to the mighty D minor Chaconne which closes it. She has a wonderful feel and the musicianship to get it just right throughout, I think.
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2 of 2 people found the following review helpful By Sid Nuncius HALL OF FAMETOP 10 REVIEWER on 16 Jun 2013
Format: Audio CD
This another wonderful disc from Susanne Heinrich. I loved both of her previous solo discs of Abel and Hume on Hyperion and I was lucky enough to receive this as a review copy from her new label, Da Gamba. It is terrific. Heinrich has transcribed the E major and D minor Partitas (BWV1006 and 1004) and the A minor Sonata (BWV 1003) for viola da gamba from Bach's autograph score for solo violin. There is no arrangement other than a couple of necessary minor changes and the pieces are played as written by Bach. The effect is lovely.

What is really striking is the effect of a genuine bass line. Although I can't quite agree with Heinrich when she says that there is something lacking in the music when played on a violin, the depth and resonance of the gamba's bass line does bring something rather wonderful to it. It's not so much that it sheds new light on the music, but more (to risk over-stretching the metaphor) that it holds it up to the light differently so that it glows and sparkles in a new way. The deeper tone of the gamba and Heinrich's slightly slower tempi than some violinists give the music both a warmth and a sense of gravitas which I love.

What really makes this special is Susanne Heinrich's playing. She says in her notes that "Anyone who has reservations about the idea need not worry: playing this music on the bass viol is so difficult it is unlikely to start a trend." Well, you wouldn't know it to listen to her play. It all sounds effortless and as natural as breathing from the charming and lively E major Preludio which opens the disc to the mighty D minor Chaconne which closes it. She has a wonderful feel and the musicianship to get it just right throughout, I think.
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1 of 1 people found the following review helpful By S. Collins on 31 Aug 2013
Format: Audio CD Verified Purchase
I heard a track from this album together with a short interview with Ms Heinrich on Radio 3. I immediately got out the car, rushed into my office at home...and ordered it.
Jazz is my first love,..so what do I know?... but, as Duke Ellington so famously said; there are only two types of music: good and bad.
But this is neither:
It is quite unbelievably fantastic.

Thank you Susanne Heinrich for introducing me to the Bass Viol.
I love the depth and richness you create on this instrument. You are a true virtuoso...and you sound like a very pleasant, modest person too.
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5 of 6 people found the following review helpful By JB TOP 500 REVIEWER on 15 May 2013
Format: Audio CD
Susanne Heinrich is one of our leading gamba players, having established a reputation built both on solo and ensemble playing (perhaps most notably with the Palladian Ensemble and Charivari Agréable). Her recordings have garnered numerous plaudits, and the Gramophone Awards Editor's Choice of 2008 for Abel: Mr Abel's Fine Airs - Sonatas for viola da gamba /Heinrich.

Having ranged far and wide through the repertoire, Susanne found herself returning time and time again to the Bach solo sonatas and partitas, an old copy of which she had used in her teenage years playing the violin. The desire to know Bach better drove her to try out some fragments on the gamba, but an impasse seemed to have been reached in how exactly to tackle a transcription proper; it had never been done before, and possibly for good reason: these works (and particularly the chaconne from the D minor partita) are often regarded as the summit of the violin repertoire, and difficult enough on that instrument. How could they possibly work on the bass viol, with its wide spacings and very different set-up?

Inspired partly by Paolo Pandolfo's Bach, J.S.: Cello Suites Nos. 1-6 transcription, Susanne continued to reflect on how exactly this goal might be achieved, and then one evening, whilst enjoying a beer on the patio, the answer began to reveal itself: the key was to lie in the retuning of the instrument.
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