Johann Sebastian BACH (1685-1750)
Sonatas for viola da gamba and obbligato harpsichord: No. 1 in G major BWV
1027 [12:43]; No. 2 in D major BWV 1028 [15:21]; No. 3 in G minor BWV 1029
[15:47]
Peter Seidenberg (cello); Elaine Comparone (harpsichord)
rec. no details given
LYRICHORD LEMS 8076 [43:51] 
Very properly the sleeve of this disc describes these three Sonatas as being
for viola da gamba and obbligato harpsichord but also makes it clear that
they are played on cello and harpsichord. I can see no inherent objection
to this – there are after all recordings on cello and piano - but some of
the many previous recordings of these works by cellists do show very quickly
that this choice of instrument can lead to very real difficulties unless both
players and recording engineers are very clear as to the nature of the music.
Essentially these are all Trio Sonatas, that is, they have two upper parts
of equal importance supported by a bass line. Indeed Sonata No. 1 exists also
in an earlier version as a Sonata for two flutes and continuo, which is also
very satisfying to listen to or play but in which the three independent lines
are usually much easier to hear. In the present form, the harpsichord has
one of the two upper lines and the bass, and the difficulty is in securing
a balance which allows all three lines to be appreciated as being of equal
importance. The risk in using a cello is that soloists more used to filling
large concert halls in romantic concertos or the like tend to use excessive
vibrato and too sustained a tone, with the effect that the harpsichordist
(or pianist) – who does after all have a majority stake in the music – sounds
like a mere accompanist.
Fortunately that is not the case here. Both players have clearly thought long
and hard about how best to present these works and the balance between instruments
is near ideal. The booklet notes that the harpsichord is by Frank Hubbard
of Boston and dates from 1972. As recorded here it has something of a jangly
sound but I suspect that this may be more the result of close recording rather
than of the instrument itself. I know that this may bother some people, but
personally I found the sound of both instruments characterful for the most
part and well suited to the particular nature of these works. Phrasing is
usually well matched, and the curious effect in the third movement of the
First Sonata that the cellist seems to be pairing the semiquavers in twos
whereas the harpsichord is grouping them in fours may well again be a result
of recording and of the nature of the latter instrument. Speeds are well chosen
and I greatly enjoyed the sheer vitality of the performances of all three
works.
Neither player is well known, at least on this side of the Atlantic, but these
performances are well worth hearing for anyone wanting to add these delightful
works to their collections. It has to be said that Lyrichord have not helped
greatly by providing distinctly short measure as well as a front cover that
is garish and far from flattering to the players. Nonetheless for anyone prepared
to ignore these points the music and its performance both offer considerable
rewards. I have five other versions of the works already – you will see that
I do very much enjoy them; all have significant virtues. Nonetheless the sheer
musicality and joy of the present performances is such that I suspect that
I may go to it first next time I want to hear these Sonatas.
John Sheppard
The sheer musicality and joy of the present performances is such that I suspect that I may go to it first next time I want to hear these Sonatas.