Johann Sebastian Bach(1685-1750)
Six Sonatas for Violin & Harpsichord

Sonatas in B minor, BWV 1014
           A major, BWV 1015
           E major, BWV 1016
           C minor, BWV 1017
           F minor, BWV 1018
           G major, BWV 1019

Musica Omnia 0112(2 discs plus 'discussion' disc from Watchorn)
Recorded December 2000 and March 2001
Emlyn Ngai, Baroque Violin
Peter Watchorn, Harpsichord
TT 103:30 plus discussion disc of 27:39

It was just a few days ago that I unfavorably reviewed a new set of the
Sonatas for Violin & Harpsichord from Micaela Comberti and Colin Tilney
for Dorian.  These two artists were unduly reserved in their performances,
thereby not meriting much attention.

Harpsichordist Peter Watchorn and violinist Emlyn Ngai now present another
new set for the recently formed company Musica Omnia.  Mr. Watchorn had
started a Bach keyboard series for Titanic that only lasted through one
recording, the English Suites.  Subsequently, he recorded a disc of Bach's
Toccatas for Hanssler.  However, what company would permit Watchorn to
progress and finalize the Bach cycle he originally intended? There is one
way to improve the probabilities; just start up your own record company.
That's what Watchorn, the Executive Director for Musica Omnia, has done.
One very distinctive element of all Musica Omnia recordings is an
additional disc titled "Beyond the Notes" where "performers, scholars,
instrument makers, and composers place the music in its historical and
cultural context".  Since Bach isn't available to provide commentary for
the set at hand, Watchorn does the honors and I'll have some comments on
his verbal contributions later.

Emlyn Ngai is a young adult artist who has studied with the Emerson String
Quartet, Eugene Drucker, and Philip Setzer.  Ngai has recorded for Titanic,
ATMA, Centaur, Vangaurd Classics, Eclectra, and Harmonia Mundi.  He has
also made the circuit with many of the Baroque orchestras of distinction
such as Tafelmusik.

My initial hope was that this new recording would not be the undernourished
listening experience provided by the other new set on Dorian.  I did have
a fair degree of confidence given that Watchorn is certainly not a subdued
performer of Bach's music.

That confidence was confirmed through listening to Watchorn's performances.
He is *always* alert and vital; everything missing in Colin Tilney's
readings comes up aces with Watchorn as the exuberance he supplies exceeds
any other version I can think of.  Only his performance of the cembalo solo
from the last sonata is not superb, but it is a strong and enjoyable
alternative.

I come now to Emlyn Ngai, and some reservations set in with the first
movement from BWV 1014; the 'weeping' phrases could be more incisive and
the tremendous release of energy toward the conclusion could be stronger
and sharper.  In the second movement, Ngai's vitality sags at times; this
reduces the excitement in the music.

The two examples above reflect Ngai's occasional tendency to not be as
emotionally deep nor as angular as the best violinists in these works such
as Kiujken and Blumenstock.  The vitality issue also strikes from time to
time.  Ngai and Watchorn employ slower than average tempos in the fast
movements; it never hurts Watchorn's exuberance, but Ngai is impacted
negatively.  I do want to stress that he often is right in step with
Watchorn and that his violin has a gorgeous sound.  Ngai is a major
improvement over Comberti, and Watchorn is exponentially preferred to
Tilney.

The last subject concerns the third "Beyond the Notes" disc which is
divided into eleven tracks.  Watchorn packs a lot of information into
his twenty-seven minutes.  He emphasizes that the Sonatas for Violin &
Harpsichord give the harpsichord equal status to the violin instead of its
traditional role as a continuo instrument.  Watchorn then goes on to stress
the need for the 'right' balance between the two instruments, a balance
that insures equal status for the harpsichord.  That leads to some talk
about the copy of a 'Harrass' harpsichord he uses which is a very powerful
instrument.

Watchorn also discusses the life at Cothen during Bach's tenure and
provides a detailed synopsis of each of the six movements in the set.
I think the third disc is an excellent addition to the set, although
Watchorn certainly reveals which instrument is on his mind.

Don's Conclusion: A highly competitive set just short of being among
the elite.  It's a particularly great version for those who really like to
focus on the harpsichord, and the "Beyond the Notes" disc should be a fine
bonus for most purchasers.

Don Satz
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