Sonata in D major, BWV 1028 - There's been some speculation concerning
whether this Sonata is entirely Bach's creation, and the first movement
adagio could make one wonder.  Although it has a nice 'walking gait'
from the harpsichord's left hand, I find it less inspired than any of
the movements in BWV 1027.  It's quite short, a little under two minutes.
Normally, Bach can easily develop diversity of themes within that time
frame, but it doesn't happen in this Adagio.  None of the reviewed
performances is able to make more of the Adagio than it appears to possess,
but each one is fine except for Bylsma/van Asperen.  In this instance, van
Asperens's organ is problematic for me.  It's very far foward and bright;
I find the sound annoying to the extent that I can't pay much attention to
Bylsma.

The second movement binary-form Allegro is full of vitality and fully
equal to the two fast movements of BWV 1027.  For a change of pace, I
listened to the different versions starting with the fastest, Boothby,
and ending with the slowest, Luolajan-Mikkola.  Boothby and Ad-El handle
their fast pace expertly; the reading is vibrant and one of perpetual
motion.  Pandolfo isn't nearly as effective as Boothby; Pandolfo often does
not sustain notes at the end of phrases, and this decision robs the Allegro
of its perpetual motion effect.  Hille Perl and Michael Behringer, a little
slower on the speed scale, do very well; however, I do find that Boothby
and Ad-El bring more vitality and bounce to the music.  These comments
about the Perl issue also apply to Savall and Koopman.  Quintana and Frisch
are exceptional in their interplay and vitality; in particular, Frisch
provides the perpetual motion element in full measure.

Wispelwey's version is not very rewarding.  He tends to play in a
comfortable manner; vitality and lift are minimal.  Perpetual motion does
not exist at all.  His partner on fortepiano, Richard Egarr, does display
a little more life, but he can't overcome Wispelwey's ho-hum performance.
Bylsma is no better than Wispelwey; he smooths out the music and provides
the atmosphere I would expect of a relaxing day in the park.  Crum/Cummings
again has to rely on Cummings for sufficient projection; although a fine
reading, it does not possess the vitality or perpetual motion of the best
versions.  Ter Linden/Egarr are very good, although they allow their
relatively slow pace to reduce some of the momentum.  Once again the
slowest in a fast movement, the BIS performers are excellent.  However,
this time I find that there's a little lack of thrust which holds the
reading back from being as good as the Quintana or Boothby issues.

The third movement Andante is very expressive and sad music with a little
sweetness added for contrast.  Among the ten versions, there is one which
makes the listening experience special - ter Linden and Egarr.  They are
slow, the most expressive, most sad, most sweet, and they even throw in
a nobility that the other versions bypass.  ter Linden is particularly
outstanding as he uses long note values to intensify the emotional themes
of the movement.

Crum/Cummings provide a very good performance, but Crum isn't close to
matching the impact delivered by ter Linden.  Other good versions come
from Luolajan-Mikkola, Quintana, Wispelwey, Boothby, and Savall.  Pandolfo,
Bylsma, and Perl don't make the first cut.  Pandolfo continues with a
penchant for short note values; this preference, in my opinion, reduces
the music's expressive nature.  Perl is on the quick side, and there's
little time to savor the Adagio; she also seems to restrict displaying much
emotion.  In the Bylsma version, the instruments do not sound well suited
to the music.  Bylsma's cello is not sufficiently gloomy, and van Asperen's
organ conveys a carnival atmosphere.

The fourth movement is a fun-loving Allegro of great energy and bounce.
The blending of the semi-quavers from the harpsichord's right hand with the
rising/broken chords of the gamba are an aural treat.  Boothby and Ad-El
are fantastic.  They sound like they're having such a good time recording
the music.  Their sound is one of perpetual motion primarily provided by
Ad-El; he's everywhere, and I'd swear that he must have another keyboard
player helping out.  It's a perfect example of controlled wildness; I love
it.  A great alternative comes from Quintana and Frisch; here it's Quintana
who is perpetual motion and loving every moment of it.  These two versions
are the ones which best bring out the energy and bubbly cheer of the
Allegro.

Luolajan-Mikkola, Crum, and ter Linden are not far off the pace.  ter
Linden is wonderfully exuberant and lyrical.  Luolajan-Mikkola is strong,
and Spanyi is powerfully effective when the tangent piano takes center
stage toward the conclusion of the Allegro.  Cummings, much better
projected than Crum, is great but not as enveloping as Ad-El.  The
remaining versions are enjoyable but either don't have the lift or the
propulsion of the better performances.

Update:  The BIS performances of the D major are very good but take second
place to Quintana and Boothby who I now place alongside the BIS as the
best recordings after two Sonatas.  Savall, ter Linden, and Crum have been
very rewarding.  Wispelwey, Pandolfo, Perl, and Bylsma have not been very
enjoyable up to this point.  I don't feel that Wispelwey or Bylsma bring
enough energy to the table.  Pandolfo hasn't impacted me much except when
he engages in short note values, and the impact has been negative.  Perl
has been a good example of a fine performance with nothing really memorable
about it.  The last sonata is in a minor key; perhaps that will change the
order of things.

Don Satz
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