Johann Sebastian Bach: Sonatas for Violin and Basso Continuo Voll. I & II BWV 1014-1019a, BWV 1021, BWV 1023 - James Ehnes, Luc Beausejour, Benoit Loiselle (BWV 1021, BWV 1023) (2006)
2 CD' s EAC / .ape (img. + .cue)
Included: cover
Vol. I: Johann Sebastian Bach: Sonatas BWV 1014-1017
Vol. II: Johann Sebastian Bach: Sonatas BWV 1018, 1019, 1019a, 1021, 1023
Reviews
Vol. I (BWV 1014-1017)
www.classicstoday.com
Artistic Quality: 10/10
Sound Quality: 10/10
The intelligence, sensitivity, and innate musicality distinguishing violinist James Ehnes' terrific unaccompanied Bach carries over to his first volume of the composer's sonatas with harpsichord. What immediately strikes you is the ideal balance between Ehnes and harpsichordist Luc Beauséjour--not just sonically speaking, but in how they effortlessly proportion their phrases and perfectly synchronize trills, turns, and other ornaments. Beauséjour's discreet and effective registrations complement the subtle variations in Ehnes' tone, especially in slower, sustained writing (the quicker-than-usual A major sonata's Andante is a good example). Also notice how Ehnes manages to project a full, rounded, and beautiful tone even when he employs vibrato sparingly. In other words, Ehnes achieves an organic synthesis of period-instrument practice with the virtues of modern violin technique, all to the music's expressive, dance-oriented good. Among numerous world-class Bach violin sonata recordings of disparate stylistic stripes, Ehnes and Beauséjour deserve room at the top. May their second volume prove equally nourishing. [2/14/2005]
--Jed Distler
Vol. II (BWV 1018, 1019, 1019a, 1021, 1023)
www.classicstoday.com
Artistic Quality: 10/10
Sound Quality: 10/10
Praising these performers' first volume of Bach's violin and harpsichord sonatas, I observed their highly attuned sensitivity and attention to detail on every level, and how violinist James Ehnes brilliantly achieved an organic synthesis of period-instrument conventions with the virtues of modern violin technique. I also spoke of harpsichordist Luc Beauséjour's effective and supportive registrations. All of these positive qualities were enhanced by Analekta's drop-dead gorgeous engineering. These words hold true for Volume 2, whose release completes a cycle that now takes its rightful place as a version of reference.
The performances abound with beauty, intelligence, and expressivity. Take, for example, the F minor sonata's Adagio. The violin part mainly consists of slow-moving chords, surrounded by faster-moving harpsichord lines that alternate between hands. Many violinists pay no attention to the chords' underlying melody, yet Ehnes not only brings it out but also makes it come alive in a vibrant dialogue with the harpsichord. Because the musicians resist the temptation to push Sonata No. 6's opening Allegro into overdrive, the music's inherent swing gains welcome breathing room on the proverbial dance floor. The Largo of the G major sonata with continuo particularly exemplifies Ehnes' ravishing (but never cloying) tone and his ability to control it with equal aplomb in all registers. I should not let cellist Benoît Loiselle's strong presence in the continuo sonatas go unnoticed, nor Guy Richards' scholarly and succinct annotations. This cycle, along with the Sonatas and Partitas, ensures James Ehnes' standing as one of the great Bach violinists of our time, or any time for that matter. [4/27/2006]
--Jed Distler
