“Viola Concertos from Berlin”, par l’ensemble Diderot : un généreux florilège de pièces rares pour alto

The viola, often overshadowed by the violin, takes center stage in the latest release by violinist Johannes Pramsohler and his Ensemble Diderot. Their new album showcases a carefully curated selection of 18th-century viola concertos, breathing life into compositions that have largely remained in obscurity.

This project is a continuation of Ensemble Diderot’s commitment to exploring and revitalizing lesser-known works from historical archives. For this album, they delved into the extensive holdings of the Sing-Akademie zu Berlin, an institution renowned for its preservation of baroque and classical manuscripts. This archival excavation has allowed them to present a repertoire that will be unfamiliar even to dedicated baroque music enthusiasts.

Among the featured composers are Johann Gottlieb Graun, Markus Heinrich Grauel, Ignaz Mara, and Carl Heinrich Hermann Benda, all of whom were active in the 18th century but whose output for viola has scarcely been recorded. Notably, the album includes world premiere recordings of concertos by Grauel, Mara, and Benda, while Graun’s concerto has seen some previous exposure.

This release highlights the viola’s unique timbre, often described as darker and more mellow compared to the violin, and showcases its soloistic potential within the classical concerto form. The Ensemble Diderot’s interpretation is marked by energetic and nuanced performances that emphasize the expressiveness of the string instruments alongside a basso continuo foundation.

The historical context of these pieces is particularly significant as it shines a light on Berlin’s musical scene during the 18th century, a period rich with musical experimentation and stylistic development. The composers represented here contributed to expanding the viola repertoire at a time when the instrument was still fighting for recognition as a solo voice.

This recording not only enriches the contemporary catalog of baroque music but also invites listeners to reconsider the viola’s place within the history of classical music. It underscores the importance of archival research in uncovering hidden gems that challenge prevailing narratives about instrumental prominence.

While details about the exact recording dates or venue are limited, the project itself stands as a testament to the dedication of musicians and scholars alike who aim to broaden the scope of early music performance and appreciation. As such, this album will appeal to those interested in historically informed performance practice and the rediscovery of neglected composers.

In sum, Johannes Pramsohler and Ensemble Diderot’s latest release offers a rewarding glimpse into the rich but underexplored world of 18th-century viola concertos from Berlin. By bringing these rare pieces to contemporary audiences, they contribute to a more inclusive understanding of baroque instrumental music and the enduring legacy of the viola.