Arcangelo Corelli, described as the "vero orfeo di nostri tempi” by his pupil Francesco Gasparini, produced the most popular printed music of his time with his Violin Sonatas Opus 5 published in Rome in 1700. As these sonatas were not primarily focused on the technical demands of the violin, adaptations of these works for viola da gamba soon followed.

Handel’s Sonata in G minor, originally for violin, includes a note that this music would also be suitable for performance “per la Viola da Gamba” and provides a further example of an adaptation of a sonata for viola da gamba. It is clear that Handel had closely studied Corelli’s style, and the influence of Italian violin technique is also unmistakable in the second gamba sonata from Johann Schenck’s “L’echo du Danube“.

Friederike Heumann has selected the sonatas Nos 8, 3 and 6 from Corelli’s Opus 5 for this recording. The title page of the first edition does not specify the instrumentation of the basso continuo: this permitted the utilisation of a wide range of different instrumental combinations on this recording, to set off the colouring and expressiveness of the viola da gamba part. Patrick Sepec's interpretation of the bass line explores the intrinsic melodic possibilities of the baroque cello, thereby entering into a dialogue with the viola da gamba.

Eduardo Egüez provides a transparent and poetic accompaniment on the theorbo, complemented by Dirk Börner who exploits the chordal richness and variety of the organ and harpsichord to the full.