In a recent interview, when asked if she suffered for her art, Viktoria Mullova answered 'of course I do, I'm Russian'. On this new 2-CD set of Bach Sonatas with Ottavio Dantone, however, there is not much evidence of suffering.
In fact, these are remarkably measured, impeccably tasteful performances and a great example of proper duo playing. In his booklet note, Dantone writes of the sonatas being remarkable for seeing the 'emancipation of the harpsichord . in these sonatas, the right hand of the harpsichord is conceived of as another instrumental line, equal to the violin'. Right from the start of the set, the Adagio of BWV 1014, Mullova shows herself to be totally in agreement: from her imperceptibly hushed, almost apologetic first entry she stakes no claim to prominence. What's clear right from the start as well is how sweetly Mullova is going to play her 1750 gut-stringed Guadagnini, with minimal vibrato, limpid phrasing and flawless technical command. The close recording captures this beguiling sound as well as the every detail of Ottone's excellent modern reproduction harpsichord.
Mullova's selfless playing means that even in BWV 1017's opening Largo, in which Ottone in his notes admits the keyboard only has an accompanying role, she seems reluctant to impose her personality. In much of the lively contrapuntal writing as well (for example, in the Allegro of BWV 1015), focus shifts imperceptibly between both artists as they take turns to step into the limelight. This ego-free style of performance is admirable but at times this recording feels a bit like the musical equivalent of two people standing by a doorway, saying 'after you' to one another, no-one ever actually making it through the door.
Neither performer's willingness to take the performances by the scruff of the neck leaves us with something which, although undeniably beautiful, isn't as engaging as it should be. In some of the faster movements, everything just seems that little bit too measured - especially in the first Allegro of BWV 1016 and Presto of BWV 1015 where there's a fatal lack of bounce and joie de vivre, so much so that it almost felt like sight-reading (albeit technically perfect sight-reading - these recordings were put down, we are told on the Onyx website, after an extensive European tour).
There are a couple of moments where Mullova briefly lets her violin really sing (hear, for example, about two and a half minutes into BWV 1016's Adagio ma non tanto) and this does provide a blast of fresh air through so much musty studiousness, but these moments are few and far between. My feeling is that Dantone is less to blame (his harpsichord doesn't, after all, have the same expressive potential as Mullova's fiddle) and in the second Allegro of that same sonata, for example, he uses his busy interjections to try and perk proceedings up. Unfortunately, though, Mullova remains resolutely firm in her interpretation.
It is telling that the two fillers, an uncredited arrangement of the Trio Sonata BWV 529 and the Sonata for Violin and Continuo BWV 1021, are, for me, the most enjoyable items on the disc. For these, Ottone swaps his harpsichord for a delightfully crisp and bright chamber organ and is joined by Luca Pianca on lute and Vittorio Ghielmi on viola da gamba.
Here things take on a far lighter and more buoyant character, and I particularly enjoyed the sound of Ghielmi really digging his bow in, refreshing after Mullova's reluctance to do so elsewhere in the recording. These works suit Mullova's own objective interpretative manner better as well; she seems to function far better as a perfectly engineered cog in this machine and, out of the limelight, even seems to have a smile in her playing.
I worry that I might have been negative about a recording which, on many important levels, is impossible to fault and I would have no hesitation in recommending this set as a 'library' recording. However, these are not sonatas that play themselves and, for me, require more interpretative flair from the players. Apparently Mullova's Bach Solo Sonatas and Partitas - admittedly very different pieces - are in the pipeline. These will hold no fear for her technically, but I do hope she'll allow more of that Russian spirit to creep into those interpretations.
By Hugo Shirley