Agostino Steffani is one of those multi-talented personalities one often encounters in the baroque era - he was a man of the church who made it as far as titular bishop and mediator between Pope and Emperor. He was a much-travelled diplomat and politician, as well, who held high state offices up to minister, and he was a composer who wrote operas for the courts in Munich, Hanover and Dsseldorf. The Italian soprano Silvia Frigato and the Castor ensemble trace the stages of Steffani's life through a selection of arias from his operas.

Johannes Schenk (1660-1712) was one of the most prominent gamba virtuosos of the 17th century. He was born in Amsterdam around 1660 and lived in his hometown for about 40 years. From 1696 he worked in Düsseldorf at the court of Elector Johann Willem I. Nothing is known about his teachers, but given the techniques he used he was probably influenced by English examples. His early works were written in the German and Dutch baroque tradition. Later works also reveal Italian influences. The ensemble Capriccio Stravagante released a CD with works by Schenk, taken from the "Scherzi musicali" opus 6, the "Nymphe di Rheno" opus 8 and "L 'écho du Danube" opus 9.

This disc finishes the Nymphs cycle, with equally stunning results. These 12 sonatas for two violas da Gamba are some of the most original and esoteric works you could ever ask for–incredibly brief, but haunting duet suites filled with gorgeous lyricism and counterpoint, and bearing the influence of German, Italian, and French composing techniques. Schenck (1660-c. 1712) may have been a Dutch court composer, but it sounds as though he heard his share of Marais; just like the better-known French composer, he showcases the singing quality and tonal range of the da Gamba with incredible effectiveness. Susie Napper and Margaret Little, members of Les Voix Humaines, deliver stirring performances on these last six sonatas.

Written sometime between 1697 and 1706, these duos for viola da gamba are a joy to listen to. Inevitably, with these dates in mind, the repertoire invites comparison with the towering influence of Marais, the eclectic Forqueray, and user-friendly Boismortier. In fact, these full-scale duos are a demanding must for the encouragement of self-sufficiency for serious gamba players. The six sonatas interweave sonatas da chiesa and da camera, infiltrate Italianate movements with accompanying dances, and seamlessly alternate melodic and harmonic functions for the two instruments.