It is commonly thought that the viola da gamba was an outdated instrument
as the 1700's progressed; therefore, Bach's use of this instrument for his
three Sonatas BWV 1027-29 is seen as another indication of how he often
looked to the past for his musical inspiration.  A different and more
recent point of view is that the viola da gamba retained a healthy degree
of popularity in France and Germany until the last decades of the 18th
century.  Also, the more recent consensus is that Bach composed these
three works in the 1740's, not in the 1720's as was the routine thinking.

The cello, which comes from the violin family, would ultimately supplant
the viola da gamba.  In recordings of BWV 1027-29, it isn't rare for the
cello to take the place of the viola da gamba; two of the recordings I am
reviewing take this route.  Also, there is no law mandating the use of the
harpsichord, and other instruments used in the recordings reviewed include
tangent piano, organ, and fortepiano.

For the review, I offer the following period instrument recordings:

Alia Vox 9812 - Jordi Savall on viola da gamba, Ton Koopman on harpsichord.

Harmonia Mundi 2955218 - Paolo Pandolfo on viola da gamba, Rinaldo
Alessandrini on harpsichord.

Hanssler 92124 - Hille Perl on viola da gamba, Michael Behringer on
harpsichord.

Harmonia Mundi 907268 - Jaap ter Linden on viola da gamba, Richard Egarr
on harpsichord.

Signum 024 - Alison Crum on viola da gamba, Laurence Cummings on
harpsichord.

Chandos 0608 - Richard Boothby on viola da gamba, Shalev Ad-El on
harpsichord.

Harmonia Mundi 901712 - Juan Manuel Quintana on viola da gamba, Celine
Frisch on harpsichord.

BIS 1061 - Markku Luolajan-Mikkola on viola da gamba, Miklos Spanyi on
tangent piano.

Sony Vivarte 45945 - Anner Bylsma on violoncello piccolo, Bob van Asperen
on organ.

Channel Classics 14198 - Pieter Wispelwey on violoncello piccolo, Richard
Egarr on harpsichord/organ/fortepiano, and Daniel Yeadon on baroque cello.

A few comments about these recordings before starting the review:

1.  The three Sonatas allow plenty of room on a cd for additional music.
Each of the ten recordings provides more music except for the Perl issue
on Hanssler which has less than 40 minutes of music.  Hanssler cd's do sell
for less than premium price, but I think that the performances would have
to be quite excellent to justify purchase.

2.  Harmonia Mundi must have a strong liking for the Viola da gamba Sonatas
with three recordings over the past six years.

3.  I'm not going to go into detail concerning other reviews, but the
consensus appears to be in favor of the Pandolfo, Savall, and ter Linden
issues.  I have not read any reviews of the newest among the ten, the
Quintana on Harmonia Mundi.  The Signum release has taken some negative
comments mainly concerning balances between instruments and some lack of
lyricism.

4.  Comments about the balances between and among instruments will not be
uncommon.

Sonata in G major, BWV 1027 - The G major is likely a transcription of the
Sonata in G major for two flutes and bass continuo BWV 1039.  The work is
in the Sonata da chiesa form with the harpsichord taking the role of the
2nd flute in addition to its continuo role.

The first movement Adagio is bitter/sweet music with the potential for a
high degree of nobility and conveying of comfort.  There is also great
tension in the sustaining notes from the viola da gamba while the
harpsichord's right hand is more lively as a counterbalance.

Issues of balance become significant right from the start for three of
the versions.  On Signum, Alison Crum is recessed compared to her partner
Laurence Cummings; sustaining notes have little impact.  Richard Egarr
occupies a position in the soundstage close to Jaap ter Linden which
results in the harpsichord being somewhat overwhelmed by ter Linden.
Wispelwey's version has the baroque cello as the continuo and the organ
playing the 2nd flute's part.  With this combination, both cellos tend to
drown out the organ's contribution.  Balance problems or not, I do very
much enjoy the Crum and ter Linden versions; Cummings is a vibrant and
optimistic force at center stage, and ter Linden gives a noble and
comforting performance.  Wipelwey's version is one I find too dark, heavy,
and lacking vitality.  Quintana's version is also problematic for different
reasons; he is rather sedate and Frisch engages in phrasing which I find
square at times.

Pandolfo, Perl, and Bylsma provide fine performances.  Pandolfo's reading
is the slowest of the ten, Perl the fastest, and van Asperen's organ
projects very well compared to Egarr's for Wispelwey.

The readings from Boothby, Luolajan-Mikkola, and Savall are exceptional.
Both Savall and Boothby are elegant and noble with great support from their
keyboard partners.  The Luolajan-Mikkola version is quite distinctive.
He and Spanyi are strong in presentation with a reading full of life and
tension; the viola da gamba's sustaining notes are very effective.  As for
the tangent piano, it has a delightfully woody sound and does not take a
backseat to the viola da gamba.

The second movement is Allegro ma non tanto.  If nothing else, the
performances need to be exuberantly delivered; Wispelwey and Bylsma lose
that exuberance at times and sound relaxed and calm.  I suppose their goal
is to heighten contrast and building-up of intensity, but I feel they take
it too far and direction is somewhat lost.

The following four performances maintain exuberance and also provide much
excitement: Boothby, Pandolfo, Perl, and ter Linden.  Even better are
the Savall, Quintana, Crum, and Luolajan-Mikkola issues.  In addition to
exuberance and excitement, these versions invest the music with a noble
swagger I find irresistable.  Because of the balance situation, Crum has
only a supporting role; Cummings rises to the occasion with a wonderful
performance brimming with nobility and vitality.  Some may consider the
BIS performances larger than life and/or too busy, but I'm just totally
immersed in their strength and constant determination; the duo has taped
into all the juices of life.  Whatever your preferences, there is a wide
conceptual gulf between the BIS and the Bylsma and Wispelwey versions.

I can well imagine ten different listeners wanting ten different
conceptions of the third movement Andante.  I love the Wispelwey version,
and that might sound odd given that I've commented negatively on the
balances and Wispelwey's restraint in the 2nd movement.  The performance
has a determined walking gait with a great feeling of foreboding coming
from the baroque cello.  Although the organ is still recessed some, it
blends beautifully with the bass from the cello.  As for Wispelwey, he
projects strongly throughout.  The result is a reading of stature with
danger around the corner.  Wispelwey's is the only version which conveys
this level of darkness.  All the other readings are fine except for the
Bylsma which is very slow and sounds even slower.  Although Savall is also
slow, there's a vibrancy in his performance entirely lacking with Bylsma
who seems to plod his way through the Andante.

Last movements of works in the Sonata da chiesa form tend to be the most
exuberant and energetic; that certainly applies to the G major's fourth
movement.  The energy of this vivacious music is strong and constant with
delicious interplay between the instruments.

The same qualities of Wispelwey's excellent third movement are detrimental
to the fourth.  His is a dark performance with two cellos and organ.
listening to any of the other versions after the Wispelwey was like
having a weight taken off my shoulders.  Wispelwey and company try to
be vivacious, but it's an uphill struggle.

Most of the remaining versions are highly enjoyable with fine levels
of energy and vivaciousness.  Two are exceptional: Quintana/Frisch and
Luolajan-Mikkola/Spanyi.  When I first heard Frisch's solo opening, I
knew I was in for a special experience; her performance has a bounce and
sprightly nature which is irresistable.  Quintana partners her perfectly
and provides delightful and incisive tension.  The BIS duo once again is
big-boned and coming at me on all cylinders.  There's no way I can resist
their playing.  Although the slowest reading, it provides along with the
Quintana the greatest sense of supreme joy.

Update: As you could easily surmise, Luolajan-Mikkola/Spanyi delivers
my favorite performance of the G major Sonata.  I've read that their
performances are "in your face".  I won't even try to dispute that claim;
they are in your face and every other part of you also.  I've used that
face remark in some past reviews, and it was never intended as a
compliment.  But there is something different about these BIS performances.
It's as if they get in your mouth, get swallowed and enter the bloodstream.
They totally penetrate my being.

Savall and Koopman are doing great.  The balances are on target, and their
performances are as stately as possible without ever downplaying energy
or joy.  Quintana and Frisch would be at Savall's level except for their
lack-luster and somewhat square first movement; their fourth movement is
a stunner.

The Signum release can objectively be cited for poor balance which often
obscures Crum's viola da gamba, but I'm still getting a kick out of the
performances.  Cummings is giving excellent readings and is the toast of
the town.  Boothby and Ad-El are also providing me with much pleasure.
Boothby's performances have been referred to as lacking in expressiveness;
I haven't noticed that at all up to this point.

Ter Linden/Egarr, Pandolfo/Alessandrini, and Perl/Behringer are doing well.
I don't have any complaints, but I also haven't heard anything special or
particularly enlightening so far.

I find the Wispelwey and Bylsma versions of the G major Sonata the
least enjoyable.  My basic feeling about Wispelwey's G major is that the
combination of instruments he provides probably isn't a good match for
the key of G major.  Bylsma can't fault van Asperen at all; his organ
contribution has been excellent and well projected.  Bylsma has been
problematic as he tends to become rather sedate and calming even when
high energy is called for.  He did this to some degree as well in his
more recent set of the Solo Cello Suites.

Part 2 will start with the Sonata in D major.  For this one, Wispelwey
replaces the organ and baroque cello with just a fortepiano. We'll see
if the new instrumentation pays any dividends.

Don Satz
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