Bach’s three Sonatas for Viola da Gamba and Harpsichord, BWV 1027-29 have been variously dated, either to Bach’s Cöthen period, where as Kapellmeister he was responsible for all instrumental music, and had at his disposal a small but outstanding ensemble of musicians, or to the later period in Leipzig, when he was occupied with the Collegium Musicum. These intensely expressive and often technically demanding, yet intimate works have the usual texture of Bach’s instrumental sonatas, with two upper parts supported by a bass part.