Not unlike many other composers of his era, Carl Friedrich Abel (1723-1787) was remarkably prolific and highly esteemed in his time, though he’s all but forgotten today. This is the premiere recording of his so-called “Drexel Manuscript” (the origin of the name remains unknown), a series of 29 works for solo viola da gamba, the composer’s chosen instrument. Gambist Paolo Pandolfo here performs all but one of the selections, omitting No. 16 arguing that its very short, six-bar length makes it seem more like an improvisation than a bona fide movement.
This is a dazzling program, perhaps lacking the highest tier of originality, yet more than compensating for it with numerous displays of creative, insightful virtuosity. Highlights include the often wildly diverse variations in the opening Prelude, and the subtle contrast between bowed and plucked strings in the Tempo di Minuetto of the first Suite in D major. The opening Arpeggiata and concluding Tempo di Menuet of the following Suite in D minor are equally alluring, featuring remarkably probing sonorous and melodic shifts reminiscent of Marin Marais and Sainte Colombe. The breathtaking Fuga from the third Suite in D major and the riveting Allegro, the second movement of the concluding Two pieces in A major, are impressive as well.
Glossa’s sound is top notch–natural, richly detailed, and acoustically complementary. Pandolfo’s extensive notes are erudite and occasionally entertaining, and Glossa’s handsome digi-pac presentation is first-class. Quintessential for most? Probably not. For viola da gamba performers and enthusiasts however, absolutely.
