The past year has seen an embarrassment of riches regarding recordings of Bach’s Sonatas for Violin and Harpsichord. Who knows why–and who cares? The fact is, as a consumer, you have the rare yet pleasurable dilemma of a wealth of choices: Lucy van Dael/Bob Asperen on Naxos, an excellent budget-priced set that musically and sonically stands up to any other version; Fabio Biondi/Rinaldo Alessandrini’s first-class renditions for Opus 111 that literally define baroque performance and style; Emlyn Ngai/Peter Watchorn on Musica Omnia; or Andrew Manze/Richard Egarr/Jaap ter Linden on Harmonia Mundi, which “fill out” the first two sonatas with a supporting viola da gamba bass line.
The current recording stands with remarkable similarity to Biondi’s renditions, from the bright, brilliant sonics to the uncanny resemblance of violin timbres. Yes, Biondi ornaments where Carmignola goes for a straighter approach, and Sony’s perspective gives the violin prominence where Opus 111’s makes a much more even balance between the two unquestionably equal partners. But, if you’re seriously in the market for a fine set of these sonatas, the question becomes merely a matter of price (go for the van Dael on Naxos) or versatility. If you’re interested in the different versions of Sonata No. 6–Bach provides three alternatives–then you’ll want Manze’s set that not only contains all the existing versions (complete with programming instructions for each) but also adds the “continuo” sonatas to complete the program. If you’re just looking for a solid, standard set of the six sonatas, this one–or Biondi’s–will prove satisfying enough for a lifetime of listening. No frills, no excess, no ego–just Bach, the whole Bach, and nothing but the Bach.
