Ricercar's German-baroque-friendly issues continue apace with Vol. 5 of their chamber-music series, and no one could accuse them of pandering to popular taste. Three of the seven composers are unrepresented in the current Gramophone Classical Catalogue (Hentzschel is not to be found listed even in Grove) and only one work, that by Kuhnel, has any other recording. The booklet adds little to our (zero) knowledge of Hentzschel, whose Canzon for eight bass viols or sackbuts (for outdoor performances?) in opposing groups of four is his only known work; separation of the components of the rich dark-chocolate blend of its opening is not easy for the ear to make, raising the desire to hear it in its alternative dress. The programme is in fact dominated by the sound of bass viols, those of higher pitch appearing only by courtesy of Scheidt (a splendid work of shifting mood and tempo) and Posch (one of nine such pairings he composed). The programme illustrates the shift, during the baroque, from the canzons and pavan/galliard pairs of Scheidt, Hentzschel and Posch, to the sonatas (da camera and da chiesa) of various types, and suites of later dances by the other composers.
Despite the rather solemn sound of the viols (unspecified but probably German) there is good animation in the quicker passages and dances, and tasteful support is provided by chamber organ or harpsichord and, in four items, a theorbo; and within proper limits the performances are nicely expressive. The recording and annotation leave nothing to be desired.'