BaL 30.03.13 - Bach's Accompanied Violin Sonatas

[Wensleydale Blue]

Personally, not impressed with the first choice, with the keyboard part taken by a piano, and nor did I detected too much more in the period instrument performances to make me consider acquiring a new version. I did quite enjoy the exploration of the music itself though - not too didactic or dogmatic - and it did make me want to listen again to the pieces. Good job its a bank holiday weekend ahead!

[Nick Armstrong]

I thought this was a really exemplary BAL, so precisely, expressively and intelligently written and delivered, with a real density of thought that will repay a second listen.

I loved her deployment of phrases like "I find" and "I think" rather than a didactic or dogmatic approach - her subjective analysis I found in fact much more persuasive, stemming from such evident intelligence and instinctive sensitivity.

I loved the way Caroline Gill pointed up the characteristics of the works - revealing (not gushing about) their qualities - and of the performances, and (yes, Ferney) the tone of cool enthusiasm.

I loved the deft images she used to enrich her analysis e.g. the blend of the "mellifluous violin with the brine of the harpsichord" - and the idea of needing to avoid performers who are like a classroom of children with their hands up, in favour of the "quiet ones". And that idea of the final extract being 'all accompaniment' to an inaudible fourth part, the imaginary melody that we supply from within ourselves when listening. That's thought-provoking stuff.

A terrific BAL, one of the best I can recall in 30 years of listening

[LeMartinPecheur]

Not knowing these works very much (beyond a couple from Manze and Egarr on a BBCMM disc), I listened - I hope - with an open mind.

In the end I found Ms Gill's litmus test between the Zimmermann with modern piano and the HIPP one with Butt (hpschd) absolutely fascinating. I really wanted to go for the Butt but in terms of clear exposition of the counterpoint the other one seemed in a class of its own. The musical thought was so much clearer and it was so much easier to switch the lugs from one contrapuntal line to another.

Perhaps the pf genuinely combines what that other version was trying to do in using both organ and harpsichord - legato and/or percussive impact. But on that disc inevitably, never both at once.

I admired Gill for her self-confessed climbdown from her previous exclusive HIPP commitment. Surely this was an honest, undidactic grapple with the problem that Bach's music does so often seem simply bigger than any available instrument? And indeed so often demands performance on options not available to the composer such as modern piano?

[Thropplenoggin]

I thought this was an really exemplary BAL, so precisely, expressively and intelligently written and delivered, with a real density of thought that will repay a second listen.

I loved her deployment of phrases like "I find" and "I think" rather than a didactic or dogmatic approach - her subjective analysis I found in fact much more persuasive, stemming from such evident intelligence and instinctive sensitivity.

I loved the way Caroline Gill pointed up the characteristics of the works - revealing (not gushing about) their qualities - and of the performances, and (yes, Ferney) the tone of cool enthusiasm.

I loved the deft images she used to enrich her analysis e.g. the blend of the "mellifluous violin with the brine of the harpsichord" - and the idea of needing to avoid performers who are like a classroom of children with their hands up, in favour of the "quiet ones". And that idea of the final extract being 'all accompaniment' to an inaudible fourth part, the imaginary melody that we supply from within ourselves when listening. That's thought-provoking stuff.

A terrific BAL, one of the best I can recall in 30 years of listening

Ouf! Praise indeed! And that phrase stuck out for me, too, as I wasn't sure whether the metaphor really stood up to closer scrutiny (honey/salt? honey/sharpness?). Nonetheless, a nice effort at being poetic. Her enunciation could also be more radio friendly - she speaks too fast, doesn't articulate enough, and there were some awkwardly long pauses to separate her ideas. However, the content was generally sound: I liked the phrase where she mentioned how the works, whilst being indebted to the past (trio sonatas), also spoke to the future (duo sonata, keyboard sonata).

I enjoyed this BaL whilst reclining in a hot bath, an image that will no doubt now haunt the waking minds of some of the more delicate souls who tread these boards. It was of sufficient merit to keep me in situ until my fingertips had degenerated into ten dried prunes.

My sole disappointment was that none of my preferred options were mentioned, though she did an admirable job of providing a wide selection of samples from various duos/trios. And I could swear I heard a 'fourth' part in the Gould clip.

[Rolmill]

I'm with Caliban and fhg here. I hardly ever hear BaL live and all too rarely get round to using the iPlayer, so this was the first I have listened to for several months - and I thought it was superb. Carefully considered, clearly set out, full of insights about the pieces...the acid test is that it has made me want, not just to buy a CD (well probably both of the preferred piano and harpsichord versions, in fact), but to shut the study door on the kids and listen to the music

[Beresford]

The last time these sonatas were reviewed on BaL, the reviewer´s favourite (and mine) was Rachel Podger - almost as good as my old LP set of Nicolas and Alice Harnoncourt - very poignant in a good baroque way, rather than the "roll me over and stroke me" feelings I got with the Zimmermann.

[Thropplenoggin]

.

Filed under 'in which the wit gets hung by his own petard'.

(Revenge will be sweet when it comes - you have been warned. )

[vinteuil]

This is a BaL thread, sir. Often contributors are only interested in seeing how their favourites fared and lamenting loudly about how these favourites have been egregiously overlooked, slighted, etc.

.

Filed under 'in which the wit gets hung by his own petard'.
(Revenge will be sweet when it comes - you have been warned. )

... cher maître - but I think your aperçu was absolutely on the money - it was 'cos I blushed to recognize its truth that I was so tickled to see that you too were not immune!

,

[aka Calum Da Jazbo]

I thought this was a really exemplary BAL, so precisely, expressively and intelligently written and delivered, with a real density of thought that will repay a second listen.

I loved her deployment of phrases like "I find" and "I think" rather than a didactic or dogmatic approach - her subjective analysis I found in fact much more persuasive, stemming from such evident intelligence and instinctive sensitivity.

I loved the way Caroline Gill pointed up the characteristics of the works - revealing (not gushing about) their qualities - and of the performances, and (yes, Ferney) the tone of cool enthusiasm.

I loved the deft images she used to enrich her analysis e.g. the blend of the "mellifluous violin with the brine of the harpsichord" - and the idea of needing to avoid performers who are like a classroom of children with their hands up, in favour of the "quiet ones". And that idea of the final extract being 'all accompaniment' to an inaudible fourth part, the imaginary melody that we supply from within ourselves when listening. That's thought-provoking stuff.

A terrific BAL, one of the best I can recall in 30 years of listening

..absolutely agree Caliban, what a delightful surprise with the coffee and rich tea biccies as i lay abed this morning

i must rescue from the bankers box the Schneiderhahn Richter set of these Sonatas on DG that used to make my spine go mushy years ago ... Ms Gill quite enthused me to listen to all sorts of approaches ... absolute star , could listen to that quality of talk for hours ....

[Thropplenoggin]

.


... cher maître - but I think your aperçu was absolutely on the money - it was 'cos I blushed to recognize its truth that I was so tickled to see that you too were not immune!

,

Like the man in orthopaedic shoes, I stand corrected, good sir.

indeed.

Yes, I'm not sure why we take such umbrage at their omission. I wonder whether that, in part, it's a notion that BaL presents a rare opportunity for our beloved 'out of the way' works to receive the attentions of a wider audience. To have their moment in the sun. Those who like Baroque and know Koopman will always seek out his new records: here was a chance to attract the ears of the casual listener and tempt him/her into a purchase.

[Eine Alpensinfonie]

I thought this was a really exemplary BAL, so precisely, expressively and intelligently written and delivered, with a real density of thought that will repay a second listen.
performances, and (yes, Ferney) the tone of cool enthusiasm.

*****************
A terrific BAL, one of the best I can recall in 30 years of listening

[Stanfordian]

It was an interesting choice of the J.S. Bach's 6 Sonatas for violin & harpsichord, BWV 1014-1019 on BAL which I have heard and have quite enjoyed. From my collection there are 3 accounts that I treasure:

Arthur Grimaud (violin) & Christiane Jaccottet (harpsichordist)
Recorded 1980 at La Chaux de Fonds in Switzerland.
Philips Classics 454 011-2.

Giuliano Carmagnola (baroque violin) & Andrea Marcon (harpsichord)
Recorded 2000 Sala del Conclave, Isola di San Giorgio, Venice
Sony Classical.

Viktoria Mullova (baroque violin) & Ottavio Dantone (harpsichord & organ)
with Vittorio Ghielmi (viola da gamba) & Luca Pianca (lute)
Recorded 2007 Alte Grieser Pfarrkirche, Bolzano, Italy
Onyx.

[Tony Halstead]

I broadly agree with Caliban's' posting... however there were a few flaws in Ms Gill's assessments:
having (almost) dismissed the superb John Holloway/ Davitt Moroney version on account of its rather 'dry' and 'shut-in' recording of his violin, she then proceeded to give more praise to the very quirky reading ( with ORGAN thankfully not all the time) by Richard Tognetti, but in fact the recording of Tognetti's violin is - if anything - even more 'dry' and somehow 'claustrophobic ' than the one by Holloway!
What a pity that Ms Gill's remit didn't include the wonderful (LP) recordings by Lucy van Dael with harpsichordist Alan Curtis.

[Nick Armstrong]

I broadly agree with Caliban's' posting... however there were a few flaws in Ms Gill's assessments:

I thought I spotted a couple of inconsistencies too... but put it down to it being rather early on a Saturday and I might have still been half asleep ! It's partly why I thought it would be worth giving it a second listen, which I shall

I find to my surprise that I have the Grumiaux set mentioned by Stanfordian... no recollection of acquiring that! Must have been in a sale... And also a BBCMM free cover disc of Manze & Egarr playing four of the sonatas...

[MickyD]

I broadly agree with Caliban's' posting... however there were a few flaws in Ms Gill's assessments:
having (almost) dismissed the superb John Holloway/ Davitt Moroney version on account of its rather 'dry' and 'shut-in' recording of his violin, she then proceeded to give more praise to the very quirky reading ( with ORGAN thankfully not all the time) by Richard Tognetti, but in fact the recording of Tognetti's violin is - if anything - even more 'dry' and somehow 'claustrophobic ' than the one by Holloway!
What a pity that Ms Gill's remit didn't include the wonderful (LP) recordings by Lucy van Dael with harpsichordist Alan Curtis.

Waldorn...listen to the programme about 57" in and you will hear the Van Dael/Curtis mentioned and played...but only briefly!