Johann Sebastian BACH (1685-1750)
Sonata for Violin and Harpsichord No 1 in B minor, BWV 1014 [14:13]
Sonata for Violin and Harpsichord No 2 in A major, BWV 1015 [14:30]
Sonata for Violin and Harpsichord No 3 in E major, BWV 1016 [17:42]
Sonata for Violin and Harpsichord No 4 in C minor, BWV 1017 [18:10]
Sonata for Violin and Harpsichord No 5 in F minor, BWV 1018 [16:55]
Sonata for Violin and Harpsichord No 6 in G major, BWV 1019 [16:13]
Alexander Schneider (violin), Ralph Kirkpatrick (harpsichord)
rec. 1945-1947, Liederkranz Hall, New York, USA
FORGOTTEN RECORDS FR1918/9 [46:31 + 51:19]
This recording of the Six Sonatas for Violin and Harpsichord was set down in New York’s Liederkranz Hall over five days between November 1945 and February 1947. As far as I’m aware, this is the first time the Sonatas have appeared on CD. Violinist Alexander Schneider is partnered by the distinguished harpsichordist Ralph Kirkpatrick.
The multifarious career of Alexander Schneider (1908-1993) embraced the roles of violinist, conductor and educator. Many will be familiar with him as second violin of the Budapest Quartet, a role he held until 1944. On departure he was offered a conductorship of the Metropolitan Opera and leadership of the Pro Arte and Paganini Quartets but turned them down. In 1949 he formed the Schneider Quartet to perform and record all eighty-three Haydn quartets. This was not completed because its sponsor, the Haydn Society ran out of funds. Music and Arts released the incomplete set in 2014 (review). In the 1950s Schneider formed close ties with Pablo Casals at the Bach festivals at Prades and Perpignan.
The Sonatas themselves were not published in Bach’s lifetime and the precise dates of their composition are not definite. Julian Shuckburgh, the composer’s biographer, suggests that they were written prior to 1725. Bach was Kapellmeister to Prince Leopold at Cöthen at the time. What is certain is that they underwent two revisions, the second about 1740. The likelihood is that they were composed in Cöthen and revised in Leipzig
Schneider and Kirkpatrick play with warmth and expressiveness, articulation is never fussy and textures throughout remain clear. The slow movements are soulful and probing, whilst the faster movements are stimulating and convey a dancing playfulness. I love the way the instruments blend, the ensemble remaining always impeccable. This is thoroughly stylish and musical playing. Schneider’s vibrato is, at all times, tastefully applied.
Although recorded over separate sessions, there is consistency of recording quality throughout. The engineers at the time managed to secure an ideal balance between the two instrumentalists. The source copies of the Columbia LPs from which these transfers were made, I would guess were pristine. The sound has a glowing warmth and intimacy. There are no accompanying notes but, as with many of their releases, Forgotten Records have provided information on relevant websites on their back tray cover.
Stephen Greenbank
