The Bach sonatas for violin and harpsichord are interesting in that Bach wrote out the accompaniment for the keyboard part. This distinguishes them against, say, the early models by Corelli which were for violin and continuo; the continuo part mentioned, if I’m remembering correctly, was a keyboard or a bass instrument (either a violone or violoncello). Bach however is intent on a more complex type of piece, where the keyboard has its own role in the texture. It might be easier, compositionally, for us to think about these as trio sonatas in spots, especially so in the contrapuntal movements where there is recognizable dialog among the theme between the right hand in the keyboard and the violin part.

There are many a good recording of these works, but I am not sure, am I ever fully satisfied? I remember seeing this album some time ago. I realized I’d never committed a long time with it but after sampling a track, I was intrigued. There are some wonderful moments in this release from Stéphanie-Marie Degand (v) and Volaine Cochard (harpsichord).

What makes these pieces so delicious to me is that they are jam-packed with good musical material. To understand, we might have to put our Bach wigs on for a moment. I’d like to think of Bach walking around Leipzig humming tunes to himself. These inventions are the themes that he can weave into a contrapuntal quilt of sorts. Culinarily, these little bits are like the canapés you get at a fine-dining restaurant ahead of the meal: cute, artistic, and full of flavor, to whet the palette. Bach then takes these morsels and pulls them into a texture. While my analogies are one way to think about it, the baroque musician likely was thinking of these inventions rhetorically, each alone, or grouped together, as having something to say. My favorite movement is the fourth from the C minor sonata, BWV 1017. We could start by labeling the violin themes, and we’d see that Bach is joining several themes, connecting them with material, and then setting them about again in sequences. But it’s the beauty and care of these these inventive licks that I think sets him apart, he was good at choosing these themes.

If we take that theme from BWV 1017.4 and listen to it, not just reading it off the page? It’s got some character to it, doesn’t it? And that’s what I’m looking for in the performances of these works, that musicians take up these these tasty morsels and render them with some style and gusto. There are enough polite recordings out there already.

Degand seems to be up to the task here, without going too far afield. The first thing I noticed when auditioning this release again was the good balance between the two instruments. The violin dominates a bit, but they are otherwise nicely balanced. The amount of reverb seems just right. There’s nothing in the way of getting at the music and enjoying what these two friends have put together.

Degand’s vibrato is heard in many instances across the recording, such as the opening to the F minor sonata, BWV 1018. Like many HIPP players, it’s not constant, but instead it’s used to warm the sound here or there, or to add an ornamental effect to a long-held note, and among this set, Bach does play with some long-held notes. It’s the use of vibrato on certain notes and not others that is so attractive to me. Her tone is also nice, warm.

I was interested in how she opens the set. The opening B minor sonata, BWV 1014, is interesting as the first declaration comes from the keyboard and the violin seems to sneak its way in, from out of the ether. Me thinks that Bach must have thought himself clever in this approach. On one hand, the keyboard is traditional, keeping time, moving things forward, then this violin part just kind of appears, almost independent from the theme we’ve just heard. It also lends the violin an interesting palette from which to capture our attention. The violin then takes the center stage, working through polyphonic material. Right before the end, it seems that the violin has won the contest, directing the movement’s end. The next theme in the Allegro is capricious in contrast.

It’s obvious to me that Degand and Cochard have played these pieces together often. They fit together very well, there’s a palpable sync between their playing. I love Degand’s declaration and how she renders Bach’s themes with clarity and energy. The word that came to mind to describe this character is moxie. Confidence also applies. It’s all alive and well in BWV 1014.2. The way she sweetens the notes at the end of phrases? Nice.

The problem child in this set is the last sonata in G, rendered unlike the others in five movements. BWV 1019 also lives in I think three versions, but just one is presented here, the one with the solo movement in third position for the harpsichord. It’s strange, for sure, as to why we’d ask the violinist to sit out. And clearly with different versions before us today, Bach was playing with form here. While we didn’t get the extra movements in this recording, I was happy we got to hear Cochard play solo. Like her partner on the violin, she tackles Bach’s inventions with equal moxie. In layman’s terms, the different thematic material is phrased independently from any long-form phrasing that came into vogue later in musical history.

The final movement starts in the lower register of the violin, a contrast to where the violin starts in the first movement. The strong rhythmic theme is easy to hear as it goes from violin to the keyboard. Their passing of the themes between violin to the keyboard, back and forth, is done very well. I even detect they’re trying to match each other’s nuances. The sense I got was gosh, these two really enjoy playing together.

It appears this #nomademusic production came out in May 2020. Shame on me for not digging in. Many rewards. This may not have unearthed every possible thing I’d like to hear from this set, but I’d challenge anyone to find fault in their approach or the audible results. This for me is a reference recording on two counts. Both instruments are transparently presented and with good, natural balance. Interpretation wise, they’ve chosen good tempi throughout and Degand especially is a affective player, using an appropriate amount of nuance to highlight Bach’s writing and the emotional flavor inherent in many of his attractive themes. Above all else, there’s a bit of confidence that comes through that makes what we hear sound just right.

More please!