This two-CD set is actually part of an ambitious undertaking: ESS.A.Y Recordings recorded these sonatas in two different versions, this one featuring Ms. Tenenbaum on a modern violin and accompanied by a modern piano played by Richard Kapp; the other recording (reviewed below) features Ms. Tenenbaum playing an older violin and accompanied by a harpsichord played by Gerald Ranck.
The pellucid simplicity of Bruno Canino's pianoplaying is the perfect partner for the fine silver of Viktoria Mullova's violin playing. Here it is at its most refined, even its most austere. The Adagio of the B minor Sonata contains absolutely nothing extraneous to a perception of the melody's own contours: no gloss of dynamic or movement, just a sense of totally secure accomplishment, sophisticated timbre and phrasing.
John Holloway and Davitt Moroney have set up a musically rewarding partnership in these brilliantly inventive works, furthermore adding to their programme the two lovely sonatas for violin and continuo long attributed to Bach, and justly so. In both of them they are joined by Susan Sheppard (continuo cello). For these sonatas Moroney has preferred a chamber organ to a harpsichord.
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…
J. S. Bach's second son, C.P.E. Bach, described the six Sonatas for Violin and Cembalo as "among the best compositions of my dear departed father", and went on to say how well they sounded and what pleasure they still gave him, although written some fifty years before. Over 300 years later these pieces still sound fresh and delightful.