With all the attention that's given to Bach's sonatas and partitas for solo violin, it's a shame more artists don't record the six sonatas for violin and harpsichord. Composed after the works for solo violin, the six accompanied sonatas are less virtuosic but display Bach's full maturity in writing idiomatically for the violin and the ease with which he composed counterpoint between the solo violin and the obbligato harpsichord. Heard on this album are Baroque violinist Ingrid Matthews and harpsichordist Byron Schenkman. ...
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With all the attention that's given to Bach's sonatas and partitas for solo violin, it's a shame more artists don't record the six sonatas for violin and harpsichord. Composed after the works for solo violin, the six accompanied sonatas are less virtuosic but display Bach's full maturity in writing idiomatically for the violin and the ease with which he composed counterpoint between the solo violin and the obbligato harpsichord. Heard on this album are Baroque violinist Ingrid Matthews and harpsichordist Byron Schenkman. Both of these artists give admirable and convincing performances of these works. It is difficult, though, not to draw comparisons between this recording and the gold-standard recording made by Carmignola. Through this comparison, Matthews and Schenkman fall just short of what is achievable in these works. Intonation is very good, but there are notes -- particularly at the tops of phrases -- that fall a little flat. Articulation is clean, but not as crisp and sparkling as Carmignola....
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