Cedille Records Archive

Johann Sebastian BACH. The sonatas for violin and harpsichord—Rachael Barton Pine, Jory Vinikour —Cedille Records 

Johann Sebastian BACH. The sonatas for violin and harpsichord—Rachael Barton Pine, Jory Vinikour —Cedille Records 

Johann Sebastian BACH. The sonatas for violin and harpsichord—Rachael Barton Pine (violin), Jory Vinikour (harpsichord)—Cedille Records CDR 900000 177—99:45, **** : While we can’t afford Bach the title as inventor of the sonata for violin and continuo, he did provide us examples of the first concertos for keyboard and orchestra. And in a form that would be continued since his time, he left us six sonatas for keyboard and violin. What makes these different from the scores of sonatas that first appeared in Italy after 1600 is that the keyboard part acts not as a “continuous bass” but as bass and a second voice. The result are pieces written predominately in trio texture, with the right hand and violin often intertwined in harmony or else chasing one another, as Bach is known to do, in counterpoint. Jory Vinikour (harpsichord) and Rachel Barton Pine (violin) take the historical approach in their recoding of the six sonatas (BWV 1014-1019) using period instruments and saving left-handed vibrato for another day. Bach’s structure for the sonatas is unusually consistent, save for the last sonata in G, which survives with alternative pieces, wrought in five instead of four movements. Vinikour and Barton Pine offer us first the […]