After the recent unexpected profusion of period-instrument recordings of the Bach sonatas for violin and obbligato keyboard, initial reaction to this one with modern violin and piano (the first volume of two) may well be that it is somehow superfluous to requirements. Let me put an end to that idea straightaway. In her booklet-notes, Ruth Waterman declares herself “extremely moved” by these underrated works, and her playing of them speaks of total love and involvement from beginning to end. For her, the opening Adagio of the very first sonata brings an “atmosphere of reverence, a prayer perhaps for the journey to be undertaken through these six sonatas”, and one has only to listen to a few bars of her playing it to be aware that she knows the route well enough to put her violin where her mouth is. The eloquently controlled warmth of emotion with which she spins out melodies such as this Adagio, the haunting “Erbarme dich” Largo of the C minor Sonata or the third movement of the E minor Sonata, are enough on their own to make one want to forget about life’s troubles and lose oneself humbly in Bach’s unique genius. Yet the reverence of which Waterman writes is not allowed to suffocate the music. There is intelligence and fleet-footed variety to the phrasing and articulation, and although the quicker movements are dashed off at a pace whose risks are not always overcome, no interpretative detail is allowed to escape. The last movement of the C minor is a good example; some 30 seconds faster than most of its recent rivals, it is nevertheless well controlled and limned by stealthy crescendos, out of which Bach’s playful cross-rhythms seem to burst with an entirely natural exuberance. Morey Ritt’s affectionately responsive and lyrical piano playing is the perfect partner, making a strong case for the instrument as a better medium than the harpsichord for engaging in effective dialogue with the violin.
Not everything is perfect here; the Adagio of the C minor Sonata is sluggish, the recorded piano sound is a little uncontrolled, and there are a few nasty edits – and for once I really mean nasty – lying in wait to disturb your reveries. But of all the recent recordings of this wonderful music, this is the first one that has made me want to go back and play the pieces for myself.'