The musicians who made historically informed performance the standard for Baroque music in the 1970s and 1980s, once Young Turks, later found themselves eclipsed by still more daring performers (or simply those who benefited from later stages of research). One of the exceptions is Swiss Baroque violinist Chiara Banchini, who inspired many other violinists with her way of teasing the meatier sound of the Baroque instrument into expressive little flourishes. She has chosen several underrated harpsichordists as accompanists ...
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The musicians who made historically informed performance the standard for Baroque music in the 1970s and 1980s, once Young Turks, later found themselves eclipsed by still more daring performers (or simply those who benefited from later stages of research). One of the exceptions is Swiss Baroque violinist Chiara Banchini, who inspired many other violinists with her way of teasing the meatier sound of the Baroque instrument into expressive little flourishes. She has chosen several underrated harpsichordists as accompanists over the years, and here, with veteran Jörg-Andreas Bötticher, she finds one capable of keeping up with her investigations of the remarkably complex structures of the music at hand. Bach's sonatas for violin and harpsichord, here properly termed sonatas for obbligato harpsichord and violin. Bach seems to take a perverse delight in confounding the expectations of those who expect a traditional Italianate violin sonata with the harpsichord moving along in a regular figured bass, although...
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