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Bertil van Boer
Fanfare, September 2018

Violinist Pine’s playing is wonderfully precise and yet with a resonant tone that brings out the best of the music. Given the sometime repetitious sequences of Bach’s style, it is easy to make any recording mechanical. She shows a fine skill of interpretation, bringing out the often hidden Bach phrasing in the faster movements and lending an emotional overlay to the slow. Vinikour is every bit her partner in this set, performing with skill and a sensitivity to the style. © 2018 Fanfare Read complete review



Phil Muse
Audio Video Club of Atlanta, September 2018

Two of the most remarkable artists of our time, violinist Rachel Barton Pine and harpsichordist Jory Vinikour, make a fantastic team performing J.S. Bach’s 6 Sonatas, BWV 1014–1019. These sonatas require incredible teamwork, necessitating an equal partnership with challenging and rewarding music for both artists.

Technique aside, there is a great deal of sensuously beautiful music in these works, requiring sensitive applications by both partners. The intimate beauty of the violin part in the Dolce first movement of BWV 1015, heard over elaborate arpeggiated figurations by the harpsichord, is only one case in point. Another is the joyful three-part fugal dialog between the violin and the two hands of the harpsichord that concludes this same work. © 2018 Audio Video Club of Atlanta Read complete review




Steven E Ritter
Audiophile Audition, August 2018

Rachel Barton Pine’s approach, on her 1770 Nicola Gagliano violin, with partner Jory Vinikour on a 2012 copy of a Pascal Taskin harpsichord from 1769—and a gorgeous instrument—is by far the more “personal” performance here. She is direct and fervent, almost like she is performing for you alone, and that the music is designed by Bach to be communicated in this same, intensely personal manner. © 2018 Audiophile Audition Read complete review




Sebastian Herrera
Audiophile Audition, July 2018

Vinikour and Barton Pine offer us first the version with a central solo harpsichord movement, but also includes an alternative cantabile for violin and harpsichord, BWV 1019a, if we’re so inclined to program our player.

This new release is a celebration of affection for Bach’s music. I have found some real sparkling gems among the movements, all diamonds, sapphires, rubies. But this recording further contributes to my belief that we’re not done in our quest to further explore these pieces and find new things to admire about them. We should welcome these two new voices to the party. © 2018 Audiophile Audition Read complete review




Blair Sanderson
AllMusic.com, June 2018

Vinikour’s accompaniment gives Pine pride of place and seems a bit understated, though the harpsichord part is always clear and the trio sonata textures are reasonably well-balanced in the 24-bit digital recording. Also included with the sonatas is the variant movement, Cantabile, BWV 1019a, which is appended to the Sonata in G major, BWV 1019. Cedille’s reproduction is transparent and close-up, so the listener gets a wonderful front-row experience. © 2018 AllMusic.com Read complete review



Lisa Flynn
WFMT (Chicago), May 2018

The artists approach these works as Bach intended: as trio sonatas with equally important roles for the violin and the harpsichord’s treble and bass lines. In addition to the six sonatas, the album offers the remarkable and ravishingly poetic Cantabile, BWV 1019a… © 2018 WFMT (Chicago)  Read complete review




David Vernier
ClassicsToday.com, May 2018

Pine and Vinikour give us no more and no less than what Bach’s scores dictate. …These interpretations, performed with such clarity and care—in true partnership—make a good case for hearing them more prominently and more often. © 2018 ClassicsToday.com Read complete review





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