Sonata No. 5 in F minor BWV 1018 - Bach did not specify the tempo of the
slow first movement, so you can find it listed as 'Adagio', 'Largo', or
any other designation conveying slow tempo.  No matter what you call it,
the music is highly mournful and reflective.  Most performances are in the
six minute range; the sloweest stretches to well over seven minutes.  The
harpsichord, with a three-voice texture, dominates the movement while the
violin takes on the role of an accompanist by entering and departing at
various points.  The violin provides the mournful element while the
harpsichord is largely reflective in mood.

Van Dael, Goebel, and Wallfisch reach the heights of mournful pensiveness,
and their partners are in perfect unison.  Manze mourns little, and his
partner Egarr uses a halting pace which I find annoying.  Joining Manze
at the bottom level is Terakado who also finds little to mourn about.
The remaining versions are very good.  Some listeners may find Holloway
too wiry and Ronez too bitter; a little audio adjustment is in order here.
I had a hunch that Biondi would take first prize for mournfulness but I was
wrong - way off the mark.

The second movement Allegro is fast and exciting music.  Wallfisch is very
speedy but conveys little excitement.  Terakado's reading never does take
flight, and Biondi's cute mannerisms are a major annoyance.  Kuijken's
version is rather stodgy, and Manze sounds a little lazy and not in unison
with Egarr.

Better performances which are moderately exciting include Podger, Goebel,
Huggett, Holloway, and Mackintosh.  Ronez, Blumenstock, and Schroder
provide very exciting issues.  van Dael and van Apseren are on the slow
side, but that doesn't hinder them from delivering a fully energized and
exciting performance.  What makes their reading special is the strong
heroism and stature they provide, qualities that the other versions only
glance at.

The third movement Adagio finds the violin ostensibly in the role of
accompanist, but it's the violin that provides urgency to the music.
There's also a little climax at the conclusion of the Adagio that can be
very effective and uplifting.  The only version I don't find rewarding
comes from Wallfisch/Nicholson.  I can't tell you what I think of
Nicholson's performance, because he is too recessed to notice.  In the
meantime, Wallfisch sounds overpowering.  But I can adjust and listen to
the Adgio as as essentially a violin solo.  However, that doesn't work well
since Wallfisch is not particularly expressive and the violin part itself
has limitations due to its accompanist status.

Excellent offerings are from Huggett, van Dael, Biondi, and Terakado.
Biondi is very fast with the best climax of all the versions; I love how
he puts on the brakes.  There's a comforting element to the music which
the other three capture beautifully.

Ronez, Blumenstock, and Kuijken are outstanding.  Ronez's performance has
an urgency that's irresistable, Blumenstock is the most expressive and
conversational, and Kuijken's partner, Leonhardt, gives the most expressive
account on the harpsichord.  These three versions are significantly more
interesting than the others.  The remaining versions are worthy endeavors.

The fourth movement is a Vivace of tremendous energy.  It's fast,
exuberant, exciting, and has a perpetual motion element.  Bach takes me to
the edge of the envelope but makes sure I don't fall off.  Also, the Vivace
is a great example of a Bach piece dependent on syncopation.

Versions not up to snuff include Manze and Terakado.  Manze and Egarr
simply sound sluggish to me; I get the image of two guys getting out of bed
in a daze.  Terakado and Henstra are not sluggish but they are earth-bound
and going through the motions.

Most of the remaining versions are very good; Ronez, Biondi, and Schroder
are better than that.  Ronez and Biondi display excellent degrees of
urgency and excitement.  Schroder is best of all.  He and Ingolfsdottir
*are* perpetual motion and possess great energy and urgency.  Theirs is
a wonderful performance sure to please.

Update:  van Dael, Ronez, and Schroder, followed closely by Blumenstock,
give the best performances of the Sonata in F minor.  Manze and Terakado
are the least attractive to me.  Manze continues to drop in my estimation;
Ronez continues to rise.  Blumenstock continues to keep her top level
position, and there's only a minimal chance she can lose it.

Don Satz
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