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Defining the boundaries between sacred and secular music in Bach's music is not an easy task as this distinction was made neither by the composer, nor by most of his contemporaries. Many works reveal this non-existing boundary as they change indifferently from one register to the other, from the cantata to the concerto, and vice-versa.
Bruno Cocset's new record highlights this permanence of spirituality in Bach's music, as he places side by side the three sonatas for viola da gamba and arrangements of chorals for organ solo.
On his quest for the most appropriate sonorities to make the music he plays sing, Bruno Cocset has again turned to his cello-maker and friend, Charles Riché, with the demand that he would conceive a new instrument, half-viola, half-violin, favourable to virtuosity as well as polyphony. They found inspiration in a painting from Bartolomeo Bettera, which proves once more that music and painting are one : ut pictura musica.