Viktoria Mullova is a violinist steeped in the strict traditions
of the Russian school of violin playing on modern stringed violin
and bow. It still amazes me that she has taken so magnificently
to the demands of the baroque violin. I recall her explaining
that as a Moscow Conservatoire student she was not aware that
there was such a thing as a period bow. Gradually her passion
has developed for Baroque and Classical music performed on period
instruments. She has immersed herself in early music working
with several outstanding period instrument specialists at the
cutting-edge of the Baroque scene: Andrea Marcon, Giuliano Carmignola,
Ottavio Dantone and Giovanni Antonini. This very subject was
discussed during a recent interview that I had with Andrew Manze
a renowned period instrument performer and director himself.
Manze remains impressed by Mullova’s smooth transition to playing
on authentic instruments, “Yes it’s quite a story. To have
the ability in her mind let alone in her fingers. To be able
to do that in her head is quite extraordinary.”
Mullova’s passion for authentic instruments has proved highly
productive in the recording studio. I greatly admire her splendid
2001 recording from St. Jude’s Church, London of Mozart’s Violin
Concertos 1, 3 and 4 on Philips 470 292-2.
She directed the period instrument Orchestra of the Age of Enlightenment
from her ‘Jules Falk’ Stradivarius (1723) fitted with gut strings
and using a period bow. For the Onyx label in 2004 at Cremona,
Italy, Mullova recorded a wonderful disc of five Vivaldi Violin
Concertos. Again she used her cherished ‘Jules Falk’
performing with the period instrument ensemble Il Giardino Armonico
under Giovanni Antonini (see
review).
More recently for the Archiv label her 2007 recording of Vivaldi
Concertos for two violins on period instruments marks
a remarkable collaboration with baroque violinist Giuliano Carmignola
and the Venice Baroque Orchestra under Andrea Marcon. On this
recording Mullova plays her 1750 Guadagnini and Carmignola a
loaned 1732 ‘Baillot’ Stradivarius. The recording was made at
Toblach in the Italian Dolomites on Archiv Produktion 4777466
(see
review).
Probably the finest release of all from Mullova is a life-enhancing
recording of Bach’s six Sonatas and Partitas for solo violin,
BWV 1001-1006 on Onyx Classics 4040. Here Mullova favours her
1750 Guadagnini with gut strings and a copy baroque bow. This
Onyx disc was my MusicWeb International 2009 ‘Record of the
Year’. I said in my review that I was basking in an afterglow
of satisfaction and a year later I still am. I wouldn’t be surprised
if this recording became one of the great 'classics' (see
review).
Bach was known to have written a considerable amount of chamber
music. Much of it is thought lost with little of it surviving
in a complete form. Exceptional is the collection of 6 Sonatas
for harpsichord and violin, BWV 1014-1019 that exists as
a set of complete manuscript copies widely circulated during
Bach’s lifetime. The Sonatas are generally thought to
have been written during Bach’s tenure as Kapellmeister to Prince
Leopold at Cöthen in 1717-1723. In his Bach biography Julian
Shuckburgh places the composition date for the set as prior
to 1725 (Harmony & Discord - The Real Life of Johann
Sebastian Bach, Old Street Publishing Ltd, London,
2009).
It is known that in 1719 Bach travelled to Berlin to purchase
a harpsichord for Prince Leopold from instrument maker Michael
Mietke. It is easy to imagine how the acquisition of this new
keyboard at the Cöthen court would have inspired Bach to write
a flurry of music for the instrument. Biographer Christoph Wolff
tells how in 1774 Bach’s son Carl Philipp Emanuel wrote that
the 6 Sonatas, “… are among the best works of my dear
departed father. They still sound excellent and give me much
joy …” [Johann Sebastian Bach - The Learned Musician,
Oxford University Press, 2001]. I agree entirely and the
set of 6 Sonatas for harpsichord and violin certainly
rank high on my list of favourite Bach compositions. Apart from
their broad appeal, rich character and melodic invention Bach’s
set of 6 Sonatas for harpsichord and violin is remarkable
for their time in dispensing with the customary basso continuo
and allowing the harpsichord to join the violin as equal
partners.
In these period instrument performances from 2007 by Viktoria
Mullova and Ottavio Dantone one senses a deep understanding,
together with a great affection for this set of Sonatas.
Mullova plays her 1750 Guadagnini violin, gut strung with a
period bow. Her partner Dantone uses a harpsichord by Olivier
Fadini, a modern copy of a J.H. Silbermann (Strasbourg) instrument
from the second half of the 18th century. I was immediately
struck how Mullova never forces her dynamics. Her interpretation
seems to let the music speak for itself and the approach works
admirably. I had a fleeting sense of a slight reticence, as
if she was holding back. In the glorious opening movement of
the Sonata, BWV 1014, an Adagio that could almost
have come from the Romantic era, the players seduce the listener
with a tenderness that would break the stoniest of hearts. I
found the Allegros played with an infectious vivacity
that still managed to radiate a spirit of stateliness. Mullova
and Dantone’s musical chemistry blends with impeccable ensemble.
Their glorious toned instruments make for a winning and memorable
performance.
The Onyx disc includes two additional tracks: the Trio Sonata
No.5 for violin and basso continuo in C which is a transcription
of the Trio Sonata for organ in C, (BWV 228) and the
Sonata for violin and basso continuo in G (BWV 1021).
Here Viktoria Mullova is joined by a basso continuo comprising
Ottavio Dantone on a positive organ, viola da gamba player Vittorio
Ghielmi and lutenist Luca Pianca. Recorded at the Alte Grieser
Pfarrkirche in Bolzano the sound quality is pleasingly clear
and well balanced.
Worthy of attention is another remarkable period instrument
version of Bach’s 6 Sonatas for harpsichord and violin,
BWV 1014-1019 from Giuliano Carmignola and Andrea Marcon on
Sony. Distinguished baroque violist Carmignola is partnered
by Marcon who plays a modern harpsichord in the style of Michael
Mietke and built by William Horn of Brescia. It would be hard
to find a performance that is more magnificently played and
it’s wonderfully recorded too. The uplifting fast movements
abound in vitality and the lovingly played slow movements are
warm and affectionate. Carmignola and Marcon recorded the set
in 2000 at Sala del Conclave, Isola di San Giorgio, Venice,
Italy on Sony Classical S2K 89469.
For those who like a modern strung violin the stand-out version
is the evergreen recording played by Arthur Grumiaux with harpsichordist
Christiane Jaccottet. Grumiaux and Jaccottet recorded the set
in 1980 at La Chaux de Fonds in Switzerland. I have this treasured
double set on Philips Classics 454 011-2.
Michael Cookson
see also review by Johan
van Veen
Viktoria Mullova (violin); Ottavio Dantone (harpsichord, organ*);
Vittorio Ghielmi (viola da gamba)*; Luca Pianca (lute)* 
