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Here two violin sonatas and two solo partitas (one for flute) are arranged by Rohmann for the five- stringed cello. Arguing that the flute partita may have originally been a string work, Rohman takes the opportunity to break away from a single melodic line. Bach’s violin sonatas are ground-breaking due to their placing of equal significance to the harpsichord – essentially creating trio sonata textures. Balance can be an issue when translating these to organ, especially with a low instrument such as the cello. Here, the judicious balance allows the melodic lines of the organ to sing through; pedals are even used occasionally, adding greater depth. Rohmann’s playing is a delight to listen to – wonderfully lithe with nuances beautifully shaped.

RUPERT GOUGH Read the full review on Agora Classica


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