Bach: Violin Sonatas BWV 1014-1019

On this CD:

1. Sonata for violin & keyboard No. 1 in B minor, BWV 1014
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

2. Sonata for violin & keyboard No. 2 in A major, BWV 1015
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

3. Sonata for violin & keyboard No. 3 in E major, BWV 1016
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

4. Sonata for violin & keyboard No. 4 in C minor, BWV 1017
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

5. Sonata for violin & keyboard No. 5 in F minor, BWV 1018
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

6. Sonata for violin & keyboard No. 6 in G major, BWV 1019
Composed by Johann Sebastian Bach
Performed by Gabriela Demeterova, Giedre Luksaite-Mrazkova

Bach: Violin Sonatas BWV 1014-1019, Music, Johann Sebastian Bach, Giedre Luksaite-Mrazkova, Gabriela Demeterova, Chamber, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Violin with Keyboard

Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger
Average customer rating:

An unexpected delight

Wonderful and Stirring

Exceptional Sonata Recording

Words should fail me

Podger gets better and better

Bach: Complete Sonatas for Violin and Obbligato Harpsichord / Pinnock, Podger
Rachel Podger , and Trevor Pinnock
Manufacturer: Channel Classics Nl
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005056Z
Release Date: 2001-01-09

Tracks:

Son No.6 in G, BWV1019: Allegro - Trevor Pinnock/Rachel Podger
Son No.6 in G, BWV1019: Largo - Trevor Pinnock/Rachel Podger
Son No.6 in G, BWV1019: Allegro (Cembalo Solo) - Trevor Pinnock/Rachel Podger
Son No.6 in G, BWV1019: Adagio - Trevor Pinnock/Rachel Podger
Son No.6 in G, BWV1019: Allegro - Trevor Pinnock/Rachel Podger
Son No.1 in b, BWV1014: Adagio - Trevor Pinnock/Rachel Podger
Son No.1 in b, BWV1014: Allegro - Trevor Pinnock/Rachel Podger
Son No.1 in b, BWV1014: Andante - Trevor Pinnock/Rachel Podger
Son No.1 in b, BWV1014: Allegro - Trevor Pinnock/Rachel Podger
Son No.2 in A, BWV1015: Dolce - Trevor Pinnock/Rachel Podger
Son No.2 in A, BWV1015: Allegro - Trevor Pinnock/Rachel Podger
Son No.2 in A, BWV1015: Andante Un Poco - Trevor Pinnock/Rachel Podger
Son No.2 in A, BWV1015: Presto - Trevor Pinnock/Rachel Podger
Son No.3 in E, BWV1016: Adagio - Trevor Pinnock/Rachel Podger
Son No.3 in E, BWV1016: Allegro - Trevor Pinnock/Rachel Podger
Son No.3 in E, BWV1016: Adagio Ma Non Tanto - Trevor Pinnock/Rachel Podger
Son No.3 in E, BWV1016: Allegro - Trevor Pinnock/Rachel Podger
Continuo Son in e, BWV1023: (Allegro) - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in e, BWV1023: Adagio Ma Non Tanto - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in e, BWV1023: Allemanda - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in e, BWV1023: Gigue - Trevor Pinnock/Rachel Podger/Jonathan Manson

Tracks:

Continuo Son in G, BWV1021: Adagio - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in G, BWV1021: Vivace - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in G, BWV1021: Largo - Trevor Pinnock/Rachel Podger/Jonathan Manson
Continuo Son in G, BWV1021: Presto - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.4 in c, BWV1017: Largo - Trevor Pinnock/Rachel Podger
Son No.4 in c, BWV1017: Allegro - Trevor Pinnock/Rachel Podger
Son No.4 in c, BWV1017: Adagio - Trevor Pinnock/Rachel Podger
Son No.4 in c, BWV1017: Allegro - Trevor Pinnock/Rachel Podger
Son No.5 in f, BWV1018: (Largo) - Trevor Pinnock/Rachel Podger
Son No.5 in f, BWV1018: Allegro - Trevor Pinnock/Rachel Podger
Son No.5 in f, BWV1018: Adagio - Trevor Pinnock/Rachel Podger
Son No.5 in f, BWV1018: Vivace - Trevor Pinnock/Rachel Podger
Son No.6 in G, BWV1019a: Vivace - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 in G, BWV1019a: Largo - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 in G, BWV1019a: Cembalo Solo - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 in G, BWV1019a: Adagio - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 in G, BWV1019a: Vn Solo E Basso L'accompagnato - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 in G, BWV1019a: Presto Ab Initio Repetatur Et Claudatur - Trevor Pinnock/Rachel Podger/Jonathan Manson
Son No.6 Version 2, BWV1019a: Cantabile Ma Un Poco Adagio - Trevor Pinnock/Rachel Podger

Amazon.com

Rachel Podger's growing reputation among early-music enthusiasts is buttressed by this set of Bach's sonatas for violin and continuo. Her intonation is always on target, her tone sweet but not cloying. While she shares the understated interpretive stance of so many historically informed performers, she allows the emotions to shine through in, for example, the opening Largo of Sonata No. 5. And where the dancelike elements are to the fore, as in the Allegro of No. 6, she shows she can swing with the best. She's aided immeasurably by harpsichordist Trevor Pinnock, whose alert playing is enjoyable throughout. When Bach gives the continuo player his moment in the sun, as in the solo third movement of No. 6, he cuts loose with shapely playing that almost steals the show. So fans of current styles in early-music performance will enjoy this set, though they'll find more excitement in Andrew Manze's Harmonia Mundi set and in Fabio Bondi's on Opus 111. --Dan Davis

Customer Reviews:

An unexpected delight.......2005-08-10

Within the first minute of listening to this CD, one is immediately captivated by Rachel Podger's gorgeous tone and intonation - a truly mellifluous sonority that ranks with the finest. Her subtle phrasings, gentle-but-sparing vibrato and deft bowing technique combine to produce a sound that is effortlessly cantabile, highly refreshing and never tiring to hear. She shapes her melody lines with great artistry and elegance - producing a sonorities of pure delight. Plus, her intonation sounds superbly "in tune" - which sometimes cannot be said about some violin music (especially that with a period violin). You hear all of these fine artistic qualities too in her Bach solo violin partitas/sonatas recordings (Channel) - complex pieces of music that are not only very difficult to play but even more difficult to make sound beautiful. Rachel Podger makes all this music of Bach sound not only easy but unusually beautiful - where you can listen to the entire CD without feeling it is too much.

Equally adept at this music is the ever-competent Baroque master, Mr. Trevor Pinnock, who not only provides interesting accompanyment to Podger but especially shines in the spotlit keyboard runs and solos. In these he maintains a spirited progression and crisp articulations throughout that keeps one in rapt attention. His cembalo solo in the #6 allegro (track 3) is downright sexy and can make one want to jump up and dance. His harpsichord sound is exceptionally warm and inviting (as harpsichords go) and not "clancky" as some can be. I surprisingly loved it. This is important for listening to an entire CD featuring that instrument! If you normally do not warm to the sound of the harpsichord, you may be pleasantly surprized that you like Pinnock's harpsichord here. Both musicians maintain an ideal balance between them with a delightfull interaction throughout the music that never seems labored or monotonous. Not an easy task for such music featuring only two instuments over two CD's.

Sometimes it is hard to define what exactly makes a fine performance but you know it when you hear it - and this is one of those. This duo's playing is completely in synch and makes the music come alive in a very natural and enjoyable way. Together, they bring out more of a carefree exuberance and lyrical depth in this music that others might not plumb. Also, the sound quality is sparkling and realistic - really superb. This CD was highly rated by Gramophone and Penguin Guide who give high marks for this duo's marvelous performance. The other performance that gets high marks from many guides is the lively version by Biondi & Allessandrini on Op. 111 done with Biondi's characteristic Italian expressivity and panache ... but it is a hard CD to find. In short, this beautiful recording - one of Podger's finest - is a gem not to be missed by the Baroque lover.

Wonderful and Stirring.......2004-06-13

Pinnock and Podger play wonderfully together. I never tire of this CD. Many joyful moments and many lovely, expressive moments. How does Podger do it? I could listen to her playing all day.

Exceptional Sonata Recording.......2001-05-08

Two CD collection of Bach's Sonatas for violin and harpsichord. I have always been a great fan of the harpsichord, and here Pinnock is outstanding in is chamber music capability.

The resonance of Podger's instrument is wonderful, so full and throaty and lyrical. I especially like the spirited Allegro to Sonata No. 6, and Pinnock's harpsichord solo on the Allegro of that opening Sonata.

The complexities of Bach's composition are here richly interpretated with good tempo and balance. The Cantabile is wonderfully charming.

A great Bach collection.

Words should fail me.......2001-03-02

but here they are. I bought my first copy of Bach's Violin and Harpsichord Sonatas after seeing the movie Tom Jones in about 1964. The sound track of the film features some lively harpsichord playing and I wanted to hear more. Unfortunately (I thought) the only lp of harpsichord music available had violin in addition, as well as viola da gamba. The version of the Bach sonatas by Menuhim, Malcolm and Gauntlett has been out of print for years, but it was a hum-dinger. It seduced me. I have bought other versions since then and always been disappointed until now. Podger, Pinnock and Jonathan Manson have done an amazing job.

Caution: if you buy this, close the curtains before playing. Otherwise your neighbors might get to see you dancing around in ecstacy. This stuff is refined rock and roll.

Podger gets better and better.......2001-01-13

Rachel Podger, concertmaster of Trevor Pinnock's The English Concert, is a fresh and winning violinist. Her sound is warm and accurate, and this recording can be recommended. She is more straightforward and natural in these marvelous sonatas than Andrew Manze, who was not at his best in his recent HM version. But my numero uno choice still is Fabio Biondi and Rinaldo Alessandrini in OPUS111. The Italian dream team play like gods, and the superior OPUS111 sound make their version the most desirable of all.

Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019; Sonatas for Viola da Gamba & Harpsichord, BWV 1027-1029

Average customer rating:

Another emblematic homage in Bach ` s memory!
The dynamic duo
Don't forget the cello.
quirky but satisfying

Bach: Sonatas for Violin & Harpsichord, BWV 1014-1019; Sonatas for Viola da Gamba & Harpsichord, BWV 1027-1029

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000028NN
Release Date: 1995-02-07

Tracks:

Sonata No. 1 In B Minor, BWV 1014: I. Adagio
Sonata No. 1 In B Minor, BWV 1014: II. Allegro
Sonata No. 1 In B Minor, BWV 1014: III. Andante
Sonata No. 1 In B Minor, BWV 1014: IV. Allegro
Sonata No. 2 In A Major, BWV 1015: I. Without Tempo Indication
Sonata No. 2 In A Major, BWV 1015: II. Allegro assai
Sonata No. 2 In A Major, BWV 1015: III. Andante un poco
Sonata No. 2 In A Major, BWV 1015: IV. Presto
Sonata No. 3 In E Major, BWV 1016: I. Adagio
Sonata No. 3 In E Major, BWV 1016: II. Allegro
Sonata No. 3 In E Major, BWV 1016: III. Adagio ma non tanto
Sonata No. 3 In E Major, BWV 1016: IV. Allegro
Sonata No. 4 In C Minor, BWV 1017: I. Siciliano. Largo
Sonata No. 4 In C Minor, BWV 1017: II. Allegro
Sonata No. 4 In C Minor, BWV 1017: III. Adagio
Sonata No. 4 In C Minor, BWV 1017: IV. Allegro

Tracks:

Sonata No. 5 In F Minor, BWV 1018: I. Largo
Sonata No. 5 In F Minor, BWV 1018: II. Allegro
Sonata No. 5 In F Minor, BWV 1018: III. Adagio
Sonata No. 5 In F Minor, BWV 1018: IV. Vivace
Sonata No. 6 In G Major, BWV 1019: I. Allegro
Sonata No. 6 In G Major, BWV 1019: II. Largo
Sonata No. 6 In G Major, BWV 1019: III. Allegro
Sonata No. 6 In G Major, BWV 1019: IV. Adagio
Sonata No. 6 In G Major, BWV 1019: V. Allegro
Sonata No. 1 In G Major, BWV 1027: I. Adagio
Sonata No. 1 In G Major, BWV 1027: II. Allegro ma non tanto
Sonata No. 1 In G Major, BWV 1027: III. Andante
Sonata No. 1 In G Major, BWV 1027: IV. Allegro moderato
Sonata No. 2 In D Major, BWV 1028: I. Adagio
Sonata No. 2 In D Major, BWV 1028: II. Allegro
Sonata No. 2 In D Major, BWV 1028: III. Andante
Sonata No. 2 In D Major, BWV 1028: IV. Allegro
Sonata No. 3 In G Minor, BWV 1029: I. Vivace
Sonata No. 3 In G Minor, BWV 1029: II. Adagio
Sonata No. 3 In G Minor, BWV 1029: III. Allegro

Customer Reviews:

Another emblematic homage in Bach ` s memory!.......2006-03-01

Glenn Gould in mutual collaboration with Jaime Laredo and Leonard Rose, made a brilliant account of these well known Bach 's arrangements. Impeccable musicality, superb phrasing, flawless sonority, egregious intonation, unerring lyricism and superb expressiveness make of this album a must-reference.

Acquire it without blinking.

The dynamic duo.......2005-07-12

Most of the recordings I have heard of the sonatas for Harpsicord and Violin use a Harpsicord not a piano. One of the things that happens is that the harpsicord tends to get "lost" as the violin is such a more powerfull instrument. Here the roles of both are equall and the pianist (Glen Gould) is a strong personality that makes himself felt in the music.

The interaction between Gould and Laredo is electric. Both formidable artist together they create fireworks. The 1014 allegro for example which sounds quite layed back in Biondi's disk here really rocks - you can't help humming along to it (by the way I can't here Gould humming along to anything).

I prefer this version to the Penguin Rosetted Grumiaux version (Harpsicord gets lost) and the highly regarded Biondii version (boring). I guess it is not that authentic but Gould brings out the beauty, liveliness and complexity of Bach better then any other Pianist I know of and Laredo is an exellent Violinist.

I havn't had time to listen to the concertos with Rose yet that end the offering.

This may not be the "reference" but if you are going to buy one recording of these works then buy this one!

Don't forget the cello........2003-10-10

Notice that this contains the marvelous Gould - Rose collaboration on the three cello sonatas, still a perennial favorite of mine. This item may be the only way to come by this recording anymore.

quirky but satisfying.......2001-04-02

Gould's Bach is so iconoclastic that it's sometimes difficult to imagine him playing chamber music, especially the sonatas for obbligato klavier and melody instrument, where the close parity between the solo player and the keyboard player's right hand calls for a sensitivity and flexibility that might have been beyond, or beneath, Gould's reach. So one should be primed for suprises in Gould's collaboration with Laredo-- and indeed, there is no lack of them. While this issue is a questionable choice for a "reference" version of the six sonatas, it is splendid and unusual, making a an excellent alternative to the many excellent performances (particularly on harpsichord) in the catalogue. Particular highlights are Laredo's playing in the final movement of the fourth sonata, and Gould's solo in the third movement of the sixth, for keyboard alone, as well as Gould's creative realizations of the ground bass in sections where the keyboard part is not fully written. Note: while Gould did make some recordings on the harpsichord, this disc (despite the title) gives us Gould on the piano.

Average customer rating:

Bach: Sonatas for violin and piano

Manufacturer: Essay
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Bach: Sonatas for Cello & Piano

ASIN: B00000IJGA
Release Date: 1999-04-20

Tracks:

Son No.1 in a, BWV 1014: Adagio
Son No.1 in a, BWV 1014: Allegro
Son No.1 in a, BWV 1014: Andante
Son No.1 in a, BWV 1014: Allegro
Son No.2 in A, BWV 1015: (Untitled)
Son No.2 in A, BWV 1015: Allegro
Son No.2 in A, BWV 1015: Andante Un Poco
Son No.2 in A, BWV 1015: Presto
Son No.3 in E, BWV 1016: Adagio
Son No.3 in E, BWV 1016: Allegro
Son No.3 in E, BWV 1016: Adagio Ma Non Tanto
Son No.3 in E, BWV 1016: Allegro

Tracks:

Son No.4 in c, BWV 1017: Largo
Son No.4 in c, BWV 1017: Allegro
Son No.4 in c, BWV 1017: Adagio
Son No.4 in c, BWV 1017: Allegro
Son No.5 in f, BWV 1018: (Untitled) - Mela Tenenbaum/Richard Kapp M
Son No.5 in f, BWV 1018: Allegro
Son No.5 in f, BWV 1018: Adagio
Son No.5 in f, BWV 1018: Vivace
Son No.6 in G, BWV 1019: Allegro
Son No.6 in G, BWV 1019: Largo
Son No.6 in G, BWV 1019: Allegro
Son No.6 in G, BWV 1019: Adagio
Son No.6 in G, BWV 1019: Allegro

Bach: Six Sonatas for Violin and Harpsichord, BWV 1014-1019

Average customer rating:

Bach: Six Sonatas for Violin and Harpsichord, BWV 1014-1019
Johann Sebastian Bach , Emlyn Ngai , and Peter Watchorn
Manufacturer: Musica Omnia
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005NHK5
Release Date: 2001-07-15

Tracks:

Son in b, BWV 1014: Adagio
Son in b, BWV 1014: Allegro
Son in b, BWV 1014: Andante
Son in b, BWV 1014: Allegro
Son in A, BWV 1015: (Dolce)
Son in A, BWV 1015: Allegro
Son in A, BWV 1015: Andante Un Poco
Son in A, BWV 1015: Presto
Son in E, BWV 1016: Adagio
Son in E, BWV 1016: Allegro
Son in E, BWV 1016: Adagio Ma Non Tanto
Son in E, BWV 1016: Allegro

Tracks:

Son in c, BWV 1017: Largo
Son in c, BWV 1017: Allegro
Son in c, BWV 1017: Adagio
Son in c, BWV 1017: Allegro
Son in f, BWV 1018: (Adagio)
Son in f, BWV 1018: Allegro
Son in f, BWV 1018: Adagio
Son in f, BWV 1018: Vivace
Son in G, BWV 1019: Allegro
Son in G, BWV 1019: Largo
Son in G, BWV 1019: Allegro: Cembalo Solo
Son in G, BWV 1019: Adagio
Son in G, BWV 1019: Allegro
Son in G, BWV 1019: Cantabile, Ma Un Poco Adagio, BWV 1019a

Tracks:

Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
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Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn
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Bach As Capellmeister: Cothen 1717-1722 - Peter Watchorn

Complete Violin Sonatas / Grumiaux, Jaccottet, Mermoud

Average customer rating:

simple, not simplistic
borderline
Superb Interpretations
Purity in quality, sound and execution
Not Baroque style

Complete Violin Sonatas / Grumiaux, Jaccottet, Mermoud

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B0000041EG
Release Date: 1996-06-11

Tracks:

Sonata In B Minor, BWV 1014: Adagio
Sonata In B Minor, BWV 1014: Allegro
Sonata In B Minor, BWV 1014: Andante
Sonata In B Minor, BWV 1014: Allegro
Sonata In A, BWV 1015: -
Sonata In A, BWV 1015: Allegro
Sonata In A, BWV 1015: Andante Un Poco
Sonata In A, BWV 1015: Presto
Sonata In E, BWV 1016: Adagio
Sonata In E, BWV 1016: Allegro
Sonata In E, BWV 1016: Adagio Ma Non Tanto
Sonata In E, BWV 1016: Allegro
Sonata In C Minor, BWV 1017: Largo
Sonata In C Minor, BWV 1017: Allegro
Sonata In C Minor, BWV 1017: Adagio
Sonata In C Minor, BWV 1017: Allegro
Sonata In F Minor, BWV 1018: -
Sonata In F Minor, BWV 1018: Allegro
Sonata In F Minor, BWV 1018: Adagio
Sonata In F Minor, BWV 1018: Vivace

Tracks:

Sonata In G, BWV 1019 : Allegro
Sonata In G, BWV 1019 : Largo
Sonata In G, BWV 1019 : Allegro
Sonata In G, BWV 1019 : Adagio
Sonata In G, BWV 1019 : Allegro
Alternative Movements, BWV 1019a : Cantabile, Ma Un Poco Adagio
Alternative Movements, BWV 1019a : Adagio
Sonata In G Minor, BWV 1020 : -
Sonata In G Minor, BWV 1020 : Adagio
Sonata In G Minor, BWV 1020 : Allegro
Sonata In G Minor, BWV 1021 : Adagio
Sonata In G Minor, BWV 1021 : Vivace
Sonata In G Minor, BWV 1021 : Largo
Sonata In G Minor, BWV 1021 : Presto
Sonata In F, BWV 1022 : -
Sonata In F, BWV 1022 : Allegro E Presto
Sonata In F, BWV 1022 : Adagio
Sonata In F, BWV 1022 : Presto
Sonata In E Minor, BWV 1023 : Adagio Ma Non Tanto
Sonata In E Minor, BWV 1023 : Allemande
Sonata In E Minor, BWV 1023 : Gigue

Amazon.com

As in his set of Bach's unaccompanied violin music, Arthur Grumiaux plays this music with effortless mastery and a fine sense of Baroque style. You can count on this great musician to avoid letting any mannerisms or inappropriate romanticism intrude on the music, leaving you with pure Bach played with great refinement. The programming here is comprehensive, including alternate movements and a questionable work or two. Christiane Jaccottet makes her presence felt as an equal , and the recording still sounds excellent. It's hard to find better performances at any price, so as a "twofer" this is a great bargain. --Leslie Gerber

Customer Reviews:

simple, not simplistic.......2007-02-09

The musical genius of Bach can be savored in any number of configurations. But you'd be hard pressed to find Bach speaking more exquisitely than via these compositions for violin and keyboard.

From here you cannot even see the outline of the Romantic Period. Rather, the pure, intertwined Baroque simplicity of two instruments instructs the soul that simple does not mean simplistic. Simple can be intricate, fugal, agile, or reflective.

Each of these modes is a format in which Bach and these two interpreters excel.

Then comes Philips with its fabulous 'Duo' series to make it all oh, so affordable.

Simple. Beautiful. Bach.

borderline.......2007-01-25

These CDs are a re-release of recordings made in 1978-80 by the great Arthur Grumiaux,i.e. they were made just prior to the time it became generally accepted that Baroque music should be played in a Baroque style. This makes it a bit difficult to write a review now, as a recording made in the style of the 60s, it is very good, as a " baroque" interpretation, well it isn't one. It is very easy to listen to, and I don't mind too much that there is lots of vibrato, but I don't like the way that it is played as violin sonatas with harpsichord accompaniment, as the main works, BWV 1041 to 1019, are realy trios with the harpsichord's right hand playing the second melody, and its left the bass line. So as a 1978 recording it give it 4. If you are looking for a recording in the baroque style try the version by van Dael & van Asperan on Naxos.

Superb Interpretations.......2001-07-25

I have known this recording for a long time, and it has lost none of its initial appeal. Throughout there is playing which is notable for its poise and effortless beauty. Even though I enjoy and often prefer original instrument performances, the Grumiaux/Jaccottet rendition of these sonatas is my favorite. This reissue on CD is a true bargain.

Purity in quality, sound and execution.......2001-04-18

Grumiaux is one of the greatest violinists from the Old School of Senofsky and others who emphasized not only clarity of technique but also passion of musical opinion. I can't say enough good things about this CD. Grumiaux captures traditional Bach with power and ownership. You can tell that each piece has his "Grumiaux thumbprint." Unliked his other recordings such as the piano trios, this CD has a strong, pure sound and sustains its clarity even when a car stereo is blasting on its highest volume. The purity touches all ages, from my toddler to advanced violin students to even carpoolers never exposed to Bach partitas. This CD also makes a great gift for young kids to adults, to your friends who are music experts. Another must-have that you shouldn't just burn from a friend.

Not Baroque style.......2001-04-05

I was disappointed to hear this CD when I received it, having acted on the highly complimentary reviews I'd read and the competitive pricing. However, the violinist does not use a Baroque style violin and the performance is not in the Baroque style. For example, a good deal of tremolo is used. I note that the original copyright dates are 1979 and 1981.

I suppose the quality of the performance is good, but I'm now so used to hearing Baroque style performances of these sorts of pieces on original style instruments that I can't get past the lack of these things.

Tracks:

Sonata In B Minor, BWV 1014: Adagio
Sonata In B Minor, BWV 1014: Allegro
Sonata In B Minor, BWV 1014: Andante
Sonata In B Minor, BWV 1014: Allegro
Sonata In A Major, BWV 1015: Dolce
Sonata In A Major, BWV 1015: Allegro
Sonata In A Major, BWV 1015: Andante un poco
Sonata In A Major, BWV 1015: Presto
Sonata In E Major, BWV 1016: Adagio
Sonata In E Major, BWV 1016: Allegro
Sonata In E Major, BWV 1016: Adagio ma non tanto
Sonata In E Major, BWV 1016: Allegro
Sonata In C Minor, BWV 1017: Largo
Sonata In C Minor, BWV 1017: Allegro
Sonata In C Minor, BWV 1017: Adagio
Sonata In C Minor, BWV 1017: Allegro
Sonata In F Minor, BWV 1018: Lamento
Sonata In F Minor, BWV 1018: Allegro
Sonata In F Minor, BWV 1018: Adagio
Sonata In F Minor, BWV 1018: Vivace

Tracks:

Toccata And Fugue In D Minor, BWV 565
Sonata In G Major, BWV 1019: Allegro
Sonata In G Major, BWV 1019: Largo
Sonata In G Major, BWV 1019: Allegro
Sonata In G Major, BWV 1019: Adagio
Sonata In G Major, BWV 1019: Allegro
Sonata In G Major, BWV 1019: Cembalo Solo
Sonata In G Major, BWV 1019: Adagio
Sonata In G Major, BWV 1019: Violino Solo E Basso L'accompagnato
Sonata In G Major, BWV 1019: Cantabile Ma Un Poco Adagio
Sonata In G Major, BWV 1021: Adagio
Sonata In G Major, BWV 1021: Vivace
Sonata In G Major, BWV 1021: Largo
Sonata In G Major, BWV 1021: Presto
Sonata In E Minor, BWV1023: [Preludio]
Sonata In E Minor, BWV1023: Adagio Ma Non Tanto
Sonata In E Minor, BWV1023: Allemanda
Sonata In E Minor, BWV1023: Gigue
Sonata In C Minor, BWV 1024: Adagio
Sonata In C Minor, BWV 1024: Presto
Sonata In C Minor, BWV 1024: Affetuoso
Sonata In C Minor, BWV 1024: Vivace

Amazon.com essential recording

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). Add into the mix his varied styles of vibrato, and the result is positively Shakespearean in its sense of teeming life and characterful drama. He is accompanied with an almost telepathic sense of partnership by Richard Egarr and, in four of the nine sonatas, by Jaap ter Linden. As an extra treat, Manze includes his own arrangement (which he calls a reconstruction) of Bach's Toccata and Fugue in D minor for organ. You'll never hear the original the same way again! --Warwick Thompson

Customer Reviews:

Perplexed I am..........2006-09-07

I have a challenge for you, loyal listeners of Andrew MANZE : Try to listen to these two CDS in one shot ! If you can't, like me, it is, perhaps, for the following reasons :

First, the recording. We have to put the volume so loud that we
have, of course, a background sound. So the BIG gamba of LINDEN sound like a hammer. First moment of a great irritability. And its only the beginning of a long and painful period of frustations.

What's the problem with the violin of Manze ? Or what is the problem with MANZE himself ? Has he listened to his work after this recording ? HIS VIOLIN is creaking, acid, strident; it becomes rapidly unbearable; and four about two hours ! A pure moment of torture for my ears !

The curious idea to join a gamba to sonatas 1014 and 1015 could have been interesting. But, unfortunately, Manze is so slow, so lazy, so boring with is strident instrument that we want to go elsewere immediately ! For instance , the FAMOUS 1019, first allegro: a complete failure ! Deadly dull! No ZEST, AN INAUDIBLE violin whithout any energy; no excitement there ! And what about the famous preludo of the 1023 ? Manze delivers a dramatic and interminable performance which is, again, extremely boring. Remember its' BAROQUE music. Why this romanticism ?

The rare good moments ? The 1021 is successfully done. The short presto is thrilling. And the 1024 is well executed. That's all...

Where is the exuberance of Goebel/Hill on the Archiv label ? Or the excitement of Valetti/Frisch on the Alpha label ?

Dryly professional.......2006-01-23

I don't take so vitriolic a view of Manze's CDs as some other reviewers of other discs. I like much of his recorded output: his speculative unaccompanied performances of Tartini are fun-even wholly appropriate for the didactic "l'arte del arco"-and his rather academic approach does work very nicely for Telemann's decidedly un-Italian music.

I very much appreciate the effort to reconstruct earlier versions of BWV 1019. I'm not aware of all the alternative movements being available elsewhere and believe this is this recording's biggest selling point.

The performances of Bach's accompanied violin sonatas are solid and professional, as should be expected of musicians at this level. Personally, I find them to sound a bit more like a profound act of scholarship than enjoyably listenable music. For example, Manze's relatively straight phrasing and somber tempo in the opening movement of BWV 1023 is nicely played, but conveys precious little of the potential musicality. Even though the movement is made up of rather straightforward arpeggios, compare the approach of Reinhard Goebel, e.g (1985. Archiv, 427 152-2). Goebel's impassioned playing and phrasing of the arpeggio figures is musical and expressive...and exciting...in a way that transcends skilled execution of simple arpeggios from the printed page.

Peter Williams' (1981) speculation that the Toccata & Fugue, BWV 565, may have been conceived as a violin solo has received a great deal of recent attention. Citing Jaap Schroeder (1985) as inspiration, the speculative reconstruction of BWV 565 is where this recording really lost me. Both the Toccata and coda material are very effective, very enjoyable, and cleverly transcribed in using rapid arpeggios and double stops to outline the huge chords from the semi-dubious organ scores that have come down to us. Unfortunately, I found the whole stretch of the fugue between to be dry and monotonous. Ironically, where double stops would be most useful in sketching polyphony is the very place where double stops are wholly absent. As Manze clearly states, the texture in his transcription of the body of the fugue is very strictly monophonic:

"...the Fugue indulges in the conceit of sounding polyphonic, literally `many voiced,' without once employing any double stopping. Instead, the impression of polyphony is given by a careful handling of voice leading and tessitura, rather than a bewildering succession of unidiomatically virtuosic, cat's-cradle chords."

As hard as I tried, I could not find much feeling of implied polyphony in the body of the fugue. In spite of occasional modulation, it comes off as a tediously endless repetition of the pedal-point-rich fugue theme.

The most cursory listen to the fugues Bach did write for unaccompanied violin (of course, from BWV 1001, 1003, and 1005: see Milstein on Deutsche Grammophon, e.g.) reveals that this strict monophonic approach to implied polyphony was not Bach's typical approach to fugal writing for violin. Obviously, these fugues can't feature 6-note chords extending below the bass clef, but they still are remarkably successful at implying polyphony through frequent double stops and chords that are slightly arpeggiated to conclude on the lead voice. Even pedal passages in the violin fugues often contrast the pedal-point to passages in double stops. In spite of all the well-intended scholarship striving to reconstruct a viable violin version of BWV 565, I think I'll stick to listening to it on the organ.

Less is often more.......2000-03-13

I am a big fan of Andrew Manze, but I think this is not his best recording nor the best there is of these marvelous sonatas. For a more consistent and musical view go for Fabio Biondi's otstanding reading in OPUS111. He and Rinaldo Alessandrini are warmer and more engaging.

Amazing interpretations -- Bach rocks!.......2000-02-22

This is the closest you can get in classical music to a feeling like jazz -- these three top-flight musicians create a free-flowing, improvisational feel to this timeless music. Manze's dramatic violin playing is of course the star of the show, but Egarr and ter Linden ain't exactly session hacks. Beautifully recorded, with lots of warmth and space around the instruments without losing an intimate feel. The best recording of these sonatas I've ever heard. Go for it!

Average customer rating:

Bach: Sonatas for violin & piano

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Beethoven - The Complete String Quartets / Alban Berg Quartet

ASIN: B00002DDVE
Release Date: 2000-01-11

Tracks:

Sonata No. 1 in B Minor: I: Adagio
Sonata No. 1 in B Minor: II: Allegro
Sonata No. 1 in B Minor: III: Andante
Sonata No. 1 in B Minor: IV: Allegro
Sonata No. 2 In A: I: (Dolce)
Sonata No. 2 In A: II: Allegro assai
Sonata No. 2 In A: III: Andante un poco
Sonata No. 2 In A: IV: Presto
Sonata No. 3 In E: I: Adagio
Sonata No. 3 In E: II: Allegro
Sonata No. 3 In E: III: Adagio ma non tanto
Sonata No. 3 In E: IV: Allegro
Sonata No. 3 In E: I: Adagio
Sonata No. 3 In E: II: Allegro
Sonata No. 3 In E: III: Adagio ma non tanto
Sonata No. 3 In E: IV: Allegro

Tracks:

Sonata No. 4 In C Minor: I: Siciliano (Largo)
Sonata No. 4 In C Minor: II: Allegro
Sonata No. 4 In C Minor: III: Adagio
Sonata No. 4 In C Minor: IV: Allegro
Sonata No. 5 In F Minor: I: Largo
Sonata No. 5 In F Minor: II: Allegro
Sonata No. 5 In F Minor: III: Adagio
Sonata No. 5 In F Minor: IV: Vivace
Sonata No. 6 In G: I: Allegro
Sonata No. 6 In G: II: Largo
Sonata No. 6 In G: III: Allegro
Sonata No. 6 In G: IV: Adagio
Sonata No. 6 In G: V: Allegro

Average customer rating:

Stunning!
Why?

Bach: Sonatas for violin & harpsichord

Manufacturer: Opus 111
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00004SDCJ
Release Date: 2000-04-11

Customer Reviews:

Stunning!.......2004-04-29

This is a reissue of Opus 30127 recorded in 1995.

Baroque violinist Fabio Biondi and harpsichordist Rinaldo Alessandrini perform the six sonatas for violin and obbligato harpsichord by Johann Sebastian Bach (1685-1750).

"Besides being a virtuoso musician, Fabio Biondi is a showman. His entrance in the opening sonata, in which his violin emerges magically from the harpsichord's foreground harmony, is a marvelous foretelling of this performer's ability to draw us in and keep us there. Biondi treats these six sonatas, which receive far too little respect from violinists, as full-fledged concert performance pieces, giving them the full measure of his impressive technique." (David Vernier - amazon.com, at the time of the original release)

Why?.......2001-05-06

What is the meaning of using a baroque violin if you don't take advantage of it's abillities? If mr. Biondi would have made this cd playing on a modern violin, then it would be a lot easier to accept and enjoy his playing. But to play the baroque violin like this... It think it is tasteless and boring from the beginning til the end. Allessandrini is though a brilliant harpsichordist. I still love the classic recording with Reinhard Goebel and Robert Hill. THAT...is taste, passion and genuine baroque-playing!