Those who enjoyed the London Baroque's 1985 Harmonia Mundi recording of Bach's trio sonatas needn't worry about duplication on this new BIS offering. This time violinist Richard Gwilt has transcribed six of Bach's sonatas BWV 525-530 that survive in manuscript form for organ (which scholarship has since revealed were transcriptions themselves). Also unlike the London Baroque's previous recording, Gwilt has scored no wind parts in favor of a more straightforward "classic combination" of two violins and continuo. What has not changed is the evident passion and plain joy the group still continues to bring to Bach.

A comparison of Gwilt's transcription of Sonata BWV 525 with the equally lovely though very different recent BMC offering by the Gyöngyössy-Hadady-Lakatos-Dobozy ensemble (see review Q5061) not only testifies to the versatility and durability of Bach's music, it also explains why because of those possibilities so many musicians return to it. First, the London Baroque account is performed on period violins while the G-H-L-D ensemble utilizes a modern flute and oboe. The tempos also vary, with the London Baroque favoring slightly swifter tempos throughout, particularly in the opening and closing movements. Both of these widely differing interpretations are equally captivating and offer much to enjoy; choice will depend strictly on whether you prefer the more crisp-sounding, sprightlier performance on BIS or the gentler, more pensive wind account on BMC. My advice is to not miss out on either; and while you're at it, add the sumptuously diabolical Rare Fruits Council recording on Astrée/Naïve for a trilogy of Bach trio sonata heaven!

BIS's sound is up to its usual audiophile standards. Gwilt's engaging notes are on par with his equally stylish fiddle playing and the shining performances of veteran colleagues violinist Ingrid Seifert, cellist Charles Medlam, and relative newcomer, harpsichordist Terence Charlston. A winner!
--John Greene, ClassicsToday.com