Though frequently performed by cellists (with harpsichord or piano), J.S. Bach's sonatas for viola da gamba and harpsichord attain an entirely different level of intricacy and elegance when performed on their original instruments. The problem with many recordings with gamba and harpsichord is the treatment of the gamba like a frail, feeble instrument even though it does not now need, nor has it ever needed, such a delicate touch. Gambist
Daniel Yeadon (formerly of the group
Florilegium) and harpsichordist
Neal Peres da Costa (one of the co-founders of
Florilegium) prove this in ABC Classics' youthful, vital recording of these wonderful compositions.
Yeadon and
da Costa have a lot going for them, beginning with their sound quality.
Yeadon plays the gamba with intense gusto without ever seeming like he's trying to make it sound like a cello.Da Costa's playing of the complex harpsichord part (which serves simultaneously as a solo line and continuo accompaniment) is stunning and intricate. Balance between the two instruments slightly favors the harpsichord, a departure from what listeners might be accustomed to; this is not to say that the harpsichord dominates or drowns out the gamba, but rather that it is given its fair due as an equal participant. Their interpretation is based on clear scholarly research into ornamentation, pacing, and articulation that translates into a satisfying, entirely convincing, musical product. From an engineering perspective, the extremely long pauses between tracks is distracting, particularly at the ends of movements that remain unresolved until the beginning of the next. Still, this recording is a fabulous introduction to these works, as well as a welcome addition to the shelves of collectors.