BACH

Sonatas for Violin and Harpsichord — in A, BWV1015; E, BWV1016; C minor, BWV1017; G minor, BWV1020; F, BWV1022 Jacqueline Ross vn David Ponsford hpd ASV Gaudeamus CDGAU228 (70 minutes: DDD)

An interesting selection of sonatas in straightforward, confident performances

For once eschewing the two-CD 'complete violin sonatas' approach, this release offers three of the usual sonatas for violin and obbligato harpsichord plus two less frequently recorded and probably spurious works: BWV1022, a sonata constructed by an unknown hand on the same bass-line as both the G major Sonata for violin and condnuo (BVVV1021) and the Trio Sonata for flute, violin and continuo (BWV1038), possibly as a composition exercise; and BWV1020, a sonata which is attributed in some sources to CPE Bach and sounds rather like it too. For that reason alone, this release should be of interest to Bach violin enthusiasts, but there are other things to enjoy about it as well. Jacqueline Ross is a newish member of the Baroque violinist's union, but she plays with straightforward boldness and correctness. Her performances are not the kind which bristle with interpretative detail, the emphasis being instead on consistent good line and well-produced tone. A good indicator of a violinist's intentions is often how much of a point is made of the crossphrasing in the last movement of the C minor Sonata (here at 2'15"); where some dig in to draw attention to them, Ross declines to let these momentary time-shifts interrupt her confident progress. There are a few momentary intonation lapses, to be sure, but the same could be said of many of her Baroque violin-playing rivals in this repertoire, in many cases to a considerably greater degree.

David Ponsford provides spirited but nononsense support and is well represented in the balance. The degree of resonance surrounding the violin may not be to everyone's taste, but if that doesn't bother you this is an easy enough disc to get on with. Lindsay Kemp