'This delightful release … Abel was one of the last masters of the viola da gamba, and in these unaccompanied pieces he reveals an intimate art … Heinrich brings to them exactly the right blend of emotional involvement and earnest good taste, and finds pleasing resonance and smoothness in her instrument, such that even nearly 80 minutes of solo gamba never tires the ear. An unexpected and atmospheric gem - I can almost hear the firewood crackling' (Gramophone)

'Abel’s pieces are reminiscent of J S Bach’s solo cello suites, so if you like them then you’ll like these. They are far more than just dance suites though, both in terms of the frequently florid, technically demanding style (listen to the extraordinary multiple stops in the fugue), and in terms of their emotional range. Sensibility, or the practise of articulating direct and strong emotions, was all the rage in the arts world at the time, and Susanne Heinrich beautifully draws this out of Abel’s writing. Charles Burney wrote at the time that Abel’s viola da gamba seemed to breathe the notes, and I think he’d be similarly complementary of Heinrich’s playing, were he alive and critiquing today' (BBC Online)

'Le naturel et la plénitude du chant demandent une paradoxale précision. Susanne Heinrich y excelle dans ce disque envoûtant et apaisé' (Diapason)

'Susanne Heinrich proves herself a worthy heir to Abel's virtuosity and considerable gamba skill, and gives fluid accounts of this music' (Audiophile Audition, USA)

'Heinrich plays them rather as Abel himself might have, with a sort of quiet affection as if she were playing for a small group in a room…I wish it would go on forever. There are a number of recordings of Abel’s more public pieces, symphonies and chamber music, but I think these thoughtful viol solos do indeed capture him at his best' (American Record Guide)

'Estas piezas para viola da gamba solo son un estupendo testimonio de musicalidad post Bach, en buena versión de Susanne Heinrich' (La Vanguardia, Spain)