This is Marais 'with an attitude', but it is a strategy by no means inappropriate to the period and some of the most natural, listenable gamba sounds I have encountered on CD. My only wish now is that Ms Heinrich and her colleagues would undertake to record the entire output of Marais! Highest recommendation.
Viola da Gamba Mitteliungen (Switzerland)
I can see her [S Heinrich¹s] bow flying across the strings: The playing of the passagework is reminiscent of a virtuoso violinist.
A close, clean recording immediately sets us among the players and establishes an atmosphere of pleasing intimacy. The three voices are well-balanced and have the kind of rapport that comes from working together a great deal. Susanne Heinrich's playing of these intentionally difficult pieces not only sounds totally effortless, her passagework smooth as melted chocolate, but she changes tone and bowstrokes to catch the humour of Marais' character pieces.
Early Music Review
A delightful and generous disc that I know I will return to.
Suite in F: Prélude - Allemande la Superbe - Allemande la Singulière - La Provençale - L'Idée grotesque - L'Arabesque - Chaconne; Suite in e/G: Feste Champêtre - Sarabande à l'Espagnole - La Muzette - Allemande l'Asmatique - La Tourneuse - Le Tourbillon - Rondeau le Bijou - L'Uniforme - Suitte - L'Amériquaine - Gigue la Fleselle - La Biscayenne; Caprice ou Sonate; Suite in D: Prélude - Allemade la Bizarre - La Fougade - La Reveuse - La Minaudière - La Sauterelle - Plainte - Rondeau l'Agréable - Charivary
Susanne Heinrich - bass viol; Lynda Sayce - theorbo & baroque guitar; Kah-Ming Ng - harpsichord & chamber organ