Sonata in G minor, BWV 1029 - This Sonata, in addition to being in a minor
key, is different from the first two in that it has only three movements in
the sequence of the more modern concerto - fast, slow, fast.  The opening
Vivace's primary theme is quite similar to the opening theme of the 3rd
Brandenburg Concerto, and I must admit that I find the orchestral version
preferable.  However, the chamber version is an exciting and uplighting
experience.  The Boothby, Crum, Quintana, and Bylsma issues are my favored
performances.  Boothby and Ad-El work beautifully together in their fast
reading as do Quintana and Frisch.  Crum again takes a back seat to
Cummings, and that's fine by me; Cummings continues to provide delightful
interpretations.  The Bylsma reading's virtue is all with van Asperen whose
organ sounds delicious and upbeat; Bylsma himself maintains the low
projection typical of his other performances on the disc.  The remaining
versions are fine but not memorable; this time Wispelwey, assisted by
harpsichord and baroque cello, does turn on the energy burners.

The Adagio is a lovely and bitter/sweet piece of long lines with a
very comforting first theme.  Boothby is a little too fast, a little
too angular, and much too wooden in his delivery; this is the first time
in the set where I would agree with some reviewers that Boothby is not
sufficiently expressive.  The three best versions come from Wispelwey,
ter Linden, and Quintana.  Their string playing is highly expressive and
lovely; only with these three does the label 'masterpiece' apply to the
Adagio.  The other versions are enjoyable; Savall could have been among
the best, but the very slow performance drags some in Koopman's hands.

The third movement Allegro finds Luolajan-Mikkola back to what he does
best:  fast movements played slower than the competition and with strong
stature and exuberance; Spanyi follows his lead perfectly.  For a fast
version, Quintana/Frisch embody controlled wildness and are just as
rewarding as the BIS issue.  There are no problems with the other versions.

Summary for the Viola da gamba Sonatas:

The performances I can't recommend come from Bylsma, Wispelwey, Pandolfo,
and Perl.  I'm going against the tide concerning Wispelwey and particularly
Pandolfo whose set is often cited as the one of the best.  As I found in
Wispelwey's more recent set of the Solo Cello Suites, his projection in
the Viola da gamba works is not routinely sufficient; I also think the use
of organ and baroque cello together in BWV 1027 lend a darkness to the
readings which is not advantageous.  Concerning Pandolfo, I don't hear
anything from him that touches me deeply or enthusiastically.  Bylsma is
less projected than Wispelwey, and Perl is rather routine.

Savall and ter Linden provide fine peformances on the slower side.  I
have strong recommendations for the Luolajan-Mikkola, Crum, and Boothby
recordings.  I love the stature and strength of the BIS interpretations,
and Crum provides spot-on, although distant, support for Cummings who is
the star of the show.  Boothby and Ad-El partner beautifully and they
provide generally irresistable rhythms; with just a one movement exception,
I do not think that Boothby is insufficiently expressive.

Quintana and Frisch are my favorite performances.  Although they do
not begin auspicially in the first movement of BWV 1027, the remaining
interpretations are highly expressive, exciting, and superbly paced.  I
find Celine Frisch especially appealing and also strongly recommend her
Bach recital disc for Harmonia Mundi.

We now have the matter of additonal music on the recordings.  Approximately
forty minutes of music just is not adequate for current technology, but
nobody at Hanssler gave that any considerations.  Since the Perl issue has
nothing beyond the three Sonatas, doesn't strike me as a version with much
to offer, and received only luke-warm reviews from other sources, I feel
this recording can safely be disregared.

Wispelwey's additional offerings are highly ambitious and totally winning.
Not content with another three or four movement sonata, Wispelwey offers:

Prelude in G major after the Prelude in C from the WTC Book I.
Siciliano from the Harpsichord Concerto BWV 1053.
Prelude in D major after the Prelude from the Cello Suite BWV 1007.
Andante from the Italian Concerto.
Prelude in g minor after the Prelude in C minor from BWV 999.
Largo from the Harpsichord Concerto BWV 1056.

That's quite a line-up, and Wispelwey makes some wonderful decisions
concerning instrumentation and presentation.  Using the forte piano in the
Largo helps make for a highly distinctive reading as does the use of the
organ for the Andante.  Concerning presentation, the Prelude in G major
begins the disc, and other works come in after each Sonata with the Largo
concluding the concert.  And that's the best way to approach the Wispelwey
disc.  It's not really a sonata disc with fillers, but a concert of Bach
works with the violoncello piccolo and diversity as the highlights.  The
additional works make Wispelwey's recording one I can recommend unless
unless you're only in the market for the Viola da gamba Sonatas.

Bylsma takes the sonata route with one of Bach's sons, J.C.F Bach, and
performs his Sonata in A major from his 'Musikalisches Vielerley'.  Fully
in the style galant, the first movement Larghetto is a lovely piece and the
third movement Tempo di Minuetto provides a charming and stately dance so
typical of the style galant; I found the second movement Allegro to have a
routine first theme.  Although adding value to the disc, this additional
sonata does not make Bylsma recommendable.

Pandolfo gives us a transcription in D minor of Bach's Solo Cello Suite
BWV 1011.  In the liner notes, Pandolfo spends much space on the logic
and suitability of the transcription.  I think it's a great transcription
but that I'd much rather hear Luolajan-Mikkola or Quintana perform it.
Pandolfo and I are not on the same wave-length at all.  As with his
performances of the Viola da gamba sonatas, his reading of the
transcription leaves me feeling no impact.

Savall comes up with an unusual offering with his transcription of the
Trio Sonata No.  5 for Organ.  The transcription is quite faithful to the
original and works very well for viola da gamba and harpsichord.  This is
an excellent addition to Savall's fine versions of the Sonatas.

For his offerings, ter Linden stands aside and gives Eggar full rein with
the Capriccios BWV 992 & 993.  Eggar is excellent in both works.  He's
particularly effective in the heroic and exciting movements and is always
poetic and reaching the music's core.

Luolajan-Mikkola throws in a transcription, the Sonata in G minor, BWV
1030a.  The work is not among Bach's best, but Luolajan-Mikkola applies his
big-boned and expressive technique to the best advantage of the music.

Boothby hands the additional proceedings to Ad-El who performs the Toccatas
for Harpsichord BWV 913 & 914.  There's some formidable competition for
these works, and Ad-El at no time matches or surpasses the best available.
I continue to recommend the disc, but there's nothing unusual or
particularly rewarding in the additional music.

Alison Crum also bows out and gives Cummings the opportunity to perform
three series from the WTC Book I:  G major, D major, and G minor.  Cummings
doesn't set any new standards, but his readings are thoroughly enjoyable
and idiomatic.  Still, the marginal value of these often-played additions
can be questioned.

Quintana and Frisch perform a tried and true transcription of Bach's Violin
& Harpsichord Sonata BWV 1019 which of course leaves out one of the best
movements in the set - the harpsichord solo.  The performances are
wonderful and vibrant, but the programming could have been better.

That concludes the review.  I'll be finding a more compatible home for
the Perl, Bylsma, and Padolfo recordings.  My top recommendation remains
Quintana and Frisch, but the seven others reviewed should provide many
hours of listening pleasure.

Don Satz
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