Bach was well acquainted with the cello but he designated these sonatas for the viola da gamba, probably because of the bass viol’s distinctively expressive sound; the cello cannot quite match the bass viol’s air of desolation in its solo in the St John Passion. However, regarding any change of instrumental medium, as Paul Tortelier said, ‘If it is done with stylistic knowledge and respect, it is acceptable.’ And thus it is with the playing of these sonatas on the cello, of which there are numerous good recordings. Nevertheless, it cannot be gainsaid that the use of the viola da gamba keeps better faith with Bach’s intentions. Take your pick.
This new recording is a very good one, with the two instruments able to converse, where called for, on a basis of equality. A few of the tempos they adopt are brisker than most of the competition and the first movement of the G major Sonata lacks a little in expressivity; in leaning on the appoggiaturas Behringer does as much as a harpsichord permits, but Perl fails to follow suit. I have never believed that a man of Bach’s temperament and with so many children put a tight performing rein on his emotions! My preference still leans towards Savall and Koopman who are rarely reticent in such matters. Some recordings of these works contain ‘bonus’ fillers; neither Savall/Koopman nor Perl/Behringer do – resulting in ungenerous timings, but this will not worry those whose primary desire is for the works per se.'