Johann Sebastian BACH (1685-1750)
Violin Sonatas
CD 1
Sonata for harpsichord and violin in B minor (BWV 1014) [12:36]
Sonata for harpsichord and violin in A (BWV 1015) [13:41]
Sonata for harpsichord and violin in E (BWV 1016) [15:01]
Trio Sonata No.5 for violin and basso continuo in C*
(transcribed from Trio Sonata for organ in C, BWV 228) [12:48]
CD 2
Sonata for harpsichord and violin in C minor (BWV 1017) [16:56]
Sonata for harpsichord and violin in F minor (BWV 1018) [18:07]
Sonata for harpsichord and violin in G (BWV 1019) [15:49]
Sonata for violin and basso continuo in G* (BWV 1021) [8:28]
Viktoria Mullova (violin); Ottavio Dantone (harpsichord, organ*); Vittorio
Ghielmi (viola da gamba)*; Luca Pianca (lute)*
rec. 16-19 March 2007, Alte Grieser Pfarrkirche, Bolzano, Italy. DDD
ONYX CLASSICS ONYX 4020 [54:05 + 59:22]
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