In the third and last of this series of Bach’s complete sonatas for obbligato harpsichord and a melodic instrument (six with violin, three with viola da gamba and two with flute), this Canadian trio present four of Bach’s better-known examples from the oeuvre. Christine Plubeau gives direct and fluent performances of the first two gamba sonatas though she fares better when the musical argument is less highly wrought; for all the spirited initiative of Genevieve Soly in the intricate contrapuntal G major work, chamber music dialogue – which is what these obbligato keyboard pieces offer above all – is disappointingly bland and prosaic in articulation and rhythmic nuance. In both the opening slow movements of this sonata and the more galant D major, the duo fail somehow to mould the conceit, which is so intrinsically present in the way the individual lines and their respective registers are given a special personality by Bach. These are of course extraordinarily difficult musical statements and diligent study of performance practices will not open up Pandora’s Box without the addition of strong characterization from the players. Probably dating from mid Leipzig, rather than Cothen – as is still often assumed – Bach’s ever more refined art deserves rather more than the efficient and technically accomplished readings it receives here.
In direct comparison, violinist Jean-Francois Rivest approaches his two works from a totally different angle: as a performer with the Montreal Symphony Orchestra, and part-time conductor, he shows few inhibitions about shaping the music and reaches beyond the accepted compendium of gestures understood as being appropriate for ‘early music’. What he offers in the E major Sonata, especially, is a sensitivity to the mercurial complexion of the opening and a variety of expression in the fast movements. Unlike Plubeau, however, he shows in his sound that playing the baroque fiddle is not his usual day job, notably in an overly robust and strident tone. Nevertheless, his interpretations are refreshing in many respects. Overall one is left with something of a hotchpotch. The recorded sound is excellent.'