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  • Sonatas for Violin, Viola Da Gamba & Harpsichord
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Sonatas for Violin, Viola Da Gamba & Harpsichord

9 customer reviews

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Audio CD, February 7, 1995
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$42.00 $16.99

Editorial Reviews


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  • Sample this album Title - Artist (Sample)
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Disc 2
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5:01
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Product Details

  • Audio CD (February 7, 1995)
  • Number of Discs: 2
  • Label: Sony
  • ASIN: B0000028NN
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (9 customer reviews)
  • Amazon Best Sellers Rank: #192,557 in Music (See Top 100 in Music)

Customer Reviews

Most Helpful Customer Reviews

31 of 35 people found the following review helpful By "jmgf77" on April 2, 2001
Format: Audio CD
Gould's Bach is so iconoclastic that it's sometimes difficult to imagine him playing chamber music, especially the sonatas for obbligato klavier and melody instrument, where the close parity between the solo player and the keyboard player's right hand calls for a sensitivity and flexibility that might have been beyond, or beneath, Gould's reach. So one should be primed for suprises in Gould's collaboration with Laredo-- and indeed, there is no lack of them. While this issue is a questionable choice for a "reference" version of the six sonatas, it is splendid and unusual, making a an excellent alternative to the many excellent performances (particularly on harpsichord) in the catalogue. Particular highlights are Laredo's playing in the final movement of the fourth sonata, and Gould's solo in the third movement of the sixth, for keyboard alone, as well as Gould's creative realizations of the ground bass in sections where the keyboard part is not fully written. Note: while Gould did make some recordings on the harpsichord, this disc (despite the title) gives us Gould on the piano.
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14 of 15 people found the following review helpful By pierresc on October 9, 2003
Format: Audio CD
Notice that this contains the marvelous Gould - Rose collaboration on the three cello sonatas, still a perennial favorite of mine. This item may be the only way to come by this recording anymore.
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16 of 18 people found the following review helpful By Steve Rogers on July 12, 2005
Format: Audio CD
Most of the recordings I have heard of the sonatas for Harpsicord and Violin use a Harpsicord not a piano. One of the things that happens is that the harpsicord tends to get "lost" as the violin is such a more powerfull instrument. Here the roles of both are equall and the pianist (Glen Gould) is a strong personality that makes himself felt in the music.

The interaction between Gould and Laredo is electric. Both formidable artist together they create fireworks. The 1014 allegro for example which sounds quite layed back in Biondi's disk here really rocks - you can't help humming along to it (by the way I can't here Gould humming along to anything).

I prefer this version to the Penguin Rosetted Grumiaux version (Harpsicord gets lost) and the highly regarded Biondii version (boring). I guess it is not that authentic but Gould brings out the beauty, liveliness and complexity of Bach better then any other Pianist I know of and Laredo is an exellent Violinist.

I havn't had time to listen to the concertos with Rose yet that end the offering.

This may not be the "reference" but if you are going to buy one recording of these works then buy this one!
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6 of 7 people found the following review helpful By Hiram Gomez Pardo HALL OF FAME on February 28, 2006
Format: Audio CD
Glenn Gould in mutual collaboration with Jaime Laredo and Leonard Rose, made a brilliant account of these well known Bach 's arrangements. Impeccable musicality, superb phrasing, flawless sonority, egregious intonation, unerring lyricism and superb expressiveness make of this album a must-reference.

Acquire it without blinking.
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3 of 3 people found the following review helpful By Chi va Piano on July 10, 2011
Format: Audio CD
This is chamber music at its best with no instrument overpowering the other. Dialogues are even and so convincing that it seems there is no better way to do these works with Gould doing his usual minimalist staccato thing, letting the listener fill in the blanks, while the other instrument sings to the full. One typical example is the adagio of the 1018 sonata for violin and piano where Laredo plays intensely but mezzo-voce while Gould takes care of a supporting counterpoint. For the Gamba sonatas, this version is, with the Bylsma / Asperen one (with an organ), by far the most convincing (I also own Starker / Sebok, Maisky / Argerich, Harrell / Kipnis, Ma / Cooper and a few others) because again, the cello is an equal partner and there is a coherent distribution of roles. In the other cello / piano recordings, both instruments try to sing full throat while in the cello / harpsichord ones, the cello is overbearing and the harpsichord mostly clicking along.
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