Bach, J S: Sonata for Violin & Harpsichord No. 4 in C minor, BWV1017

“…this is a genuine duo partnership, characterised as much by Pace's subtle fingerwork and crisp articulation as by Zimmermann's fluid tone and rapt attention to expressive effect. Both players show themselves masters of fine phrasing and of using dynamics to reveal the bigger architectural picture, whether in a concerto-like movement such as the finale of No 3 or in the mysterious accompaniment in search of a tune that is the second movement of No 5. For movingly expressive performances of these great works without anachronistic Romanticisms, these will not be bettered.” Gramophone Magazine, February 2009

“This splendid recording challenges unbending authenticists, arguing a strong case for piano, particularly under the hands of a player so in tune with Baroque style, textures, balance and spirit. …the drooping arabesques and broken chords of the third movement of BWV 1018 against the independent violin double-stopping are heavenly; so too is the wonderfully evocative Largo of BWV 1019, Zimmermann's violin cold and bleak, with barely a hint of vibrato.” BBC Music Magazine, February 2009 *****

“To hear Mullova play Bach is, simply, one of the greatest things you can experience” The Guardian

“Mullova's warm tone and lightly articulated playing - the Allegro of the A major Sonata affords a particularly rewarding instance - are substantial rewards in themselves, but over and above these she and her keyboard partner prove a stylish and sympathetically matched duo.” BBC Music Magazine, Proms 2007 *****

The two make a fine match. Both are uncomplicated, utterly instinctive musicians with a sure technical command and sound stylistic sense, and in works as robust and complete as these, that is most of the battle already won. (…) (…) music of a great poetry (…) (…) Podger and Pinnock bring this out superbly (…) (…) this natural beauty – two disc for the price of one – is, quite simply, the best yet. Gramophone

“A recording of Bach's violin sonatas that really hits the spot. Rachel Podger has already attracted much praise for her recordings of the solo violin music, but is heard here to even better advantage in the Six Sonatas for violin and obbligato harpsichord, BWV1014-19, for which she's joined by Trevor Pinnock.
The two make a fine match. Both are uncomplicated, instinctive musicians with a sure technical command and sound stylistic sense, and in works as robust and complete as these, that's most of the battle already won. But this is also music of great poetry, and, without straining unduly to make their points, Podger and Pinnock bring this out superbly; Pinnock's harpsichord is gently resonant and softly voiced, and Podger coaxes a lyrical flexibility out of her violin, its singing qualities enhanced thanks to a restrained but telling use of vibrato – one which also enables her to play more consistently and blessedly in tune than almost any other Baroque fiddler currently in business.
It's difficult to single out details of this recording for comment; there just seems to be such a tremendous feeling of overall 'rightness' to it.
Maybe the finale of Sonata No 2 seems rather frantic and the wonderful Adagio ma non tanto of No 3 a touch lumpy, but there really isn't much else to criticise. And there are true gems to be enjoyed in the opening movement of BWV1014, where the violin makes an almost imperceptible initial entry, or the warm embrace of BWV1017's Adagio, or practically any of the sparkling fast movements, played with invigorating rhythmic drive and clarity.
This recording's closest period rival, that of Andrew Manze and Richard Egarr, shows a typical wealth of new ideas and inspired moves but is less satisfying as a whole, and suffers from some intonationally hairy moments and a less precisely pointed sound. The only period recording to touch Podger and Pinnock for technical assurance is that of Fabio Biondi and Rinaldo Alessandrini, but in both sound and interpretation it's heavy-handed compared with the spontaneous musicianship and airy texture on display here, and rather meanly it gives the six obbligato sonatas only. Though all the recent recordings of these sonatas have had their merits, this – two discs for the price of one – is, quite simply, the best yet.” Gramophone Classical Music Guide, 2010

“From the very start of BWV 1014, you sense this highly distinguished duo's sense of wonder at Bach's inventiveness: Catherine Manson's long-held opening note is hushed, virtually inaudible at first above the patterned figuration of the harpsichord...Fast movements, too, have a dancing energy. Recording balance, often a problem with violin overpowering harpsichord, is splendidly managed.” BBC Music Magazine, February 2013 ****

“Koopman adds profuse ornamentation to his part. His sense of style is completely secure and he goes a long way towards giving his instrument an expressive character to match the violin. Even in the fast movements he shows that decoration can help onward impetus. Catherine Manson plays expressively, using very little vibrato” Gramophone Magazine, January 2013