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

Six Sonatas, BWV 1014-1019
Sony 89469(2 CDs)
Recorded 2000, Issued 2002
Giuliano Carmignola, Violin
Andrea Marcon, Harpsichord
TT 93:54

I have been waiting with enthusiasm for this set of Bach's Sonatas
for Violin & Harpsichord.  I've been a big fan of Andrea Marcon's Bach
organ recordings on Hanssler, and I welcomed the opportunity to hear
from Giuliano Carmignola who has garnered much praise for his previous
recordings of the baroque repertoire.

On the surface, the set doesn't offer a generous supply of music with only
the six sonatas for our enjoyment.  Most sets from other sources provide at
least one other multi-movement work.  However, this Sony set does sell for
only the price of two mid-priced discs, so the issue is not significant.

My evaluation of the Carmignola/Marcon set is largely based on the
following six criteria:

1.  Energy & Projection - A great deal of energy is accumulated and
dispersed in Bach's Violin & Harpsichord Sonatas; this also applies to
the slower movements.  From my perspective, the process needs strong
projection and vitality especially from the violin.

Both Carmignola and Marcon display much exuberance and vitality.
Projection is routinely robust from Carmignola along the lines of Biondi
and Blumenstock.  There are some differences between Carmignola and
Blumenstock(my favorite set).  Blumenstock is incisive and quite angular,
while Carmignola takes a more dignified, rounded, and stately approach.
The energy in the music is handled very well by Marcon and Carmignola; my
sole reservation concerns the tremendous release of energy by the violin
at the conclusion of the first movement of BWV 1014 where Carmignola holds
back his strength a little.

2.  Conversation Among Voices - The counterpoint provides for frequent
displays of interaction with varied emotional themes.  Factors such as
instrument placement on the soundstage and the connections between the
two performers are paramount.

Carmignola and Marcon are given equal status from the sound engineers.
They are entirely in sync with one another, and their interaction is
insightful and penetrating.  I *do* get the feeling that they are
conversing under an umbrella of varied emotions, and that makes a world
of difference in these works.

3.  Poignancy and Depth of Emotion - The slow movements are particularly
vivid and rich in emotion as the performers have to dig into the depths of
human remorse and despair.

Carmignola conveys much depth, but the performances of Blumenstock reveal
that the last ounce of feeling is missing from his readings.

4.  Excitement - The fast movements certainly have the capacity to excite
the listener.  It's the time for the performers to 'let loose' and try to
enter the listener's bloodstream.

This is another excellent area for Carmignola and Marcon.  They don't
stint on the spring and excitement of the fast movements and their rhythmic
energy is at high levels.

5.  Tension & Urgency - Basic components that apply to both the fast and
slow movements.  Factors including articulation, spacing, and rhythmic
patterns play a major role in conveying these crucial features of Bach's
music.

Although Carmignola provides plenty of tension, it's still Blumenstock who
digs deeper with her sharp articulation and pulls this listener into her
grasp.

6.  Tonal Appeal - Some folks continue to maintain that a baroque violin
can not deliver tonal beauty, but they just haven't figured out that beauty
comes in different packages.  Biondi and Manze well reveal the beauty of
the baroque violin, and Carmignola is also in this category.  His tone is
consistently gorgeous throughout the six sonatas on his anonymous baroque
instrument; he often provides a great 'cantabile' style which is hard to
resist.  The sound is relatively rich with excellent intonation.  There's
none better than Carmignola for tonal appeal.

7.  Cembalo Solo from BWV 1019 - I give this movement a special designation
for two reasons.  First, it's one of Bach's most joyous and exuberant
pieces of music.  Second, it is the only harpsichord solo movement in the
set and gives the harpsichordist a wonderful opportunity to make his/her
mark.

Andrea Marcon gives a fine performance of the harpsichord solo; he's quick
and exuberant.  I would have liked a little more bounce to the rhythm as
Alessandrini offers on Opus 111, but Marcon well satisfies.

I hope that the above comments have conveyed my high opinion of the
new Sony set of Bach's Sonatas for Violin & Harpsichord.  It's two best
features are the beauty of tone displayed by Carmignola and the consistency
of excellence throughout the performances.  I recently perused a review of
the set which likened Carmignola's readings to those of Biondi except that
Biondi was more expressive.  From my perspective, a better comparison would
be that Carmignola is similar to Biondi without the romanticizing that
Biondi employs.

Don's Conclusions: An excellent set which should please a wide variety of
Bach enthusiasts.  I can't think of another set which is more consistently
engaging, and I urge readers to consider adding Carmignola and Marcon to
their record library.

Don Satz