Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive.
This is a delightful, inventive, witty, charming, enchanting, inspiring disc. In the Verbruggen disc, only four of the six sonatas appear together, plus one other trio sonata (BWV 1031). Perhaps Ms. Verbruggen thought that BWV 526 and 528 did not translate well to the recorder. In any event, the recorder and the harpsichord are outstanding here, as is the recording quality. Highest recommendation.
Hille Perl is widely regarded as one of the leading viola da gambists in the world. Because of the prominence of her instrument in the Baroque era, her repertory is rich in works from that period, with the names, J.S. Bach, Telemann, Marin Marais, Sainte-Colombe, and other 17th and 18th century composers headlining her concert programs and recordings. Perl also plays the treble viol, the seven-string bass viol, Baroque guitar, Lirone, and Xarana.
Andrew Manze has been called "the Grappelli of the Baroque violin" because of the improvisatory liveliness of his approach; however, he can just as easily change personalities. Sometimes he pads along with sinewy grace like a panther ready to spring (the Preludio to BWV 1023, for example), sometimes he goes for a much more relaxed cantabile line, and sometimes he plays with a sparkling and infectious sense of fun (Presto, BWV 1021).
Rossini himself described these works as «six dreadful sonatas, composed by me on holiday at the home (near Ravenna) of my Maecenas friend Agostino Triossi when I was at a most infantile age, not even having taken a lesson in accompaniment.» Written at the age of twelve, as if only for the pleasure of it, in only three days with an ease reminiscent of Mozart, these compositions exude an entrancing, naive freshness.