Johann Sebastian Bach’s Three Sonatas for Viola da Gamba and Harpsichord (BWV 1027–1029) are timeless late Baroque masterworks that celebrate the expressive voice of a fading historical instrument.

Principal cellist of the New Mexico Philharmonic, Amy Huzjak, and Director of Cathedral Music, Maxine Thévenot, pair up for a Pop-Up Concert at The Cathedral of St. John. Free-will offering at the door.
11:30AM - 11:55AM in the nave space.
Please enter via the east-facing parking lot doors.
The monthly Requiem service follows in the Chapel.
All are welcome!

Johann Sebastian Bach’s Three Sonatas for Viola da Gamba and Harpsichord (BWV 1027–1029) represent a pinnacle of late Baroque chamber music. Composed primarily during his tenure as director of the Collegium Musicum in Leipzig (circa late 1730s to early 1740s), these works arrived at a historical turning point. The viola da gamba—a fretted, bowed string instrument praised for its expressive, vocal quality—was rapidly losing ground to the louder cello. Bach’s sonatas stand as a grand, final celebration of the instrument's unique capabilities.

The collection showcases Bach's mastery across different musical forms:

• Sonata No. 1 in G major (BWV 1027): A bright, lyrical work following the traditional sonata da chiesa (church sonata) format of four alternating slow and fast movements.

• Sonata No. 2 in D major (BWV 1028): A highly virtuosic piece that builds from an intimate opening to a brilliant, dance-like finale, demanding extreme agility from both performers.

• Sonata No. 3 in G minor (BWV 1029): A dramatic, intense work compressed into a three-movement Italian concerto structure (Vivace–Adagio–Allegro), evoking the grand spirit of a full orchestra.

Though written for an instrument that soon went obsolete, these sonatas never lost their appeal. Today, they remain foundational masterworks, performed frequently by modern viola da gamba specialists as well as classical cellists and violists.