Viola:Kim Kashkashian 1952年生于美国底特律。毕业于 Peabody 音乐学院，同期的学生还包括Walter Trampler和Karen Tuttle等。曾经连续数年在Marlboro Festival的室内乐团中任中提琴手，随后她主要以中提琴独奏家的身份在欧洲巡演。卡斯卡西安常与钢琴家Robert Levin搭配中提琴与钢琴二重奏，时有精彩的演出呈现。1994年卡斯卡西安开始拥有Antonio & Girolamo Amati名琴(1617年制)，她曾表示：由于中提琴制作至今仍没有一定的规格及尺寸，所以现代的制琴家仍然继续实验不同规格尺寸的中提琴对音色表现的影响。卡斯卡西安是位既热情明朗，又带一点神秘感的音乐家，他的热情让演奏里洋溢着一股温暖的人性光芒，而极端严格的自我要求，使得他能够尽可能地将作曲家创作时的原始情感彻底解放出来。Harpsichord:　　Keith Jarrett 1945年生于美国宾西法尼亚，三岁时就开始演奏钢琴，在他只有七岁时他就举办了自己的独奏音乐会。当他还是一位中学生的时候他就成为了—位职业音乐家，在1962年时，他在伯克利学习，其后他就开始和自己的三重奏组在波士顿地区演出。他曾与Art Blakey, Charls Lloyd, Miles Davis合作，早在70年初，就在古典和爵士领域都获得成功。1971年起，他开始为ECM唱片公司广泛录音，除此之外他在1970年还曾经为ABC唱片公司和推动力唱片公司录制了一些曲子。加雷特是美国最为杰出的钢琴家及作曲家之一，从七十年代初开始，加雷特逐渐摆脱了前辈大师风格的束缚，形成了自己的原创风格。他在音乐中更多的增加了有自己特色的东西，以及更多个人感受，个人风格开始逐渐超过了传统风格，成为他音乐中的主流。Bach's gamba sonatas are usually heard on the cello or viola today, though for the latter, their register is low and some notes are entirely beyond its range. This confronts violists with the choice of transposing their part an octave up and playing on the bright-sounding high strings, or staying in the gamba register and playing on the subdued-sounding low strings. Most players choose the former, more brilliant alternative, but Kim Kashkashian opts for the less traveled, more difficult road, transposing up only where the part goes below her reach. Taking authenticity even further, she tunes a half-step down to match the harpsichord, and plays almost without vibrato. All this gives her tone a singularly pure, but also muted and somewhat unvaried quality, while the cembalo sounds strangely reverberant, so the blend between a real and a half-real Baroque instrument is still problematic. However, the players' stylistic and musical integrity, their rapport and unanimity of articulation, phrasing, and expression, as well as the technical perfection of their execution, are totally admirable. The performance may be unusual, but it's stamped by personal conviction and involvement. --Edith Eisler