Giuliano Carmignola’s reputation as a Baroque violinist has so far rested on his recordings of Vivaldi concertos with the Venice Baroque Orchestra‚ where his easy virtuosity and sweet sound have made for some highly pleasant‚ if not always startlingly thought­provoking‚ listening. With the move to Bach’s six supremely eloquent sonatas for violin and obbligato harpsichord‚ the advantages of his ready technique are equally apparent; this is probably the most consistently in­tune ‘Baroque’ performance of these pieces currently available‚ with Bach’s exposed and melodically intricate lines giving Carmignola none of the intonation problems which afflict most of his rivals. With music as well­written and self­supporting as this‚ he has the battle half­won already‚ and lovers of these pieces can safely sit back and enjoy an effortlessly classy musical display from both Carmignola and harpsichordist Andrea Marcon (already an established partnership‚ as Marcon is also director of the Venice Baroque Orchestra). Recorded in a gently glowing church acoustic‚ and with the harpsichord well represented in the balance but not sounding unnaturally large‚ there is little more that one could wish for. This silky newcomer is‚ indeed‚ a strong contender for a top recommendation. And yet there are some things to be desired‚ as a visit to a handful of rival recordings will testify: those who crave a touch more adventure will doubtless be drawn to the lively minds of Andrew Manze and Richard Egarr‚ brimming with original ideas as usual‚ even if in places Manze’s playing sounds surprisingly ill­at­ease. Fabio Biondi takes a more muscular and forthright approach in his recording with Rinaldo Alessandrini‚ one that is notably free of some of the interpretative excesses to which he has turned of late. It is Rachel Podger and Trevor Pinnock‚ however‚ who offer the best balance‚ Podger in particular mixing sure technique with typically natural and spontaneous musical personality. For me‚ she remains a first choice‚ though Carmignola gives her a good run for her money and for some listeners Channel Classics’ rather less appealing recorded sound may tip the balance the other way. Perhaps this really is one of those cases where the best answer is to have both.