Related Reviews
BBC Music Magazine
5 Stars
'...for sheer freshness, insight and life-enhancing joy, this newcomer goes to the top of the class alongside Rachel Podger and Trevor Pinnock, Andrew Manze and Richard Egarr.'
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The Sunday Times
' Russell's beautifully polished playing reveals an affecting relish for the music's searching expressivity, while Butt offers shapely, crisply articulated contributions...'
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The Strad
The Strad Recommends: 'Intellectual challenge and a spirit of Empfindsamkeit animate these magnificent new recordings...'
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Buxton Advertiser
'Yet the highlight of the concert was the two Bach sonatas for violin and harpsichord (BWV 1019 and BWV 1015): they really captured the symmetry and the lucidity of the composer. Their joint performance was sustaining and brilliant.'
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Gramophone
'Refreshing...These are immensely likable performances...'
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Brompton’s Fine & Rare Instruments
' And so it is therefore hardly surprising that such insight and integrity is to be found in the performance of specialists such as Russell and Butt.'
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Artistxite
,,John Butts dynamisches, aber betont kontrapunktisches Cembalo und Lucy Russells flüssiges, vibrato-armes Spiel und der warme Klang ihrer Gagliano-Geige harmonieren dabei exzellent miteinander.''
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Early Music Review
'Here Lucy Russell puts her own stamp on the works, giving a spirited and emotional rendering, and for that this recording is worth investing in.'
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BBC Radio 3 ‘CD Review’
CD of the Week: 'the recorded sound is very good'
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John Butt & Lucy Russell - J.S. Bach: Violin and Harpsichord Sonatas - The Guardian


21 May 2015
The Guardian
Kate Molleson

These six sonatas, likely dashed off in the early 1720s between Bach's weekly cantata duties at the Thomaskirche, were intended to be played at home or in Leipzig's bustling coffee houses. Violinist Lucy Russell captures something of their intimate charisma. Her playing is stripped-back and silvery - whispered and introverted in the fourth sonata, searching in the third - but slightly earnest in some slow movements and laboured in some faster passages. Harpsichordist John Butt reigns in his most rambunctious side (listen to his recent recording of Bach's Well-Tempered Clavier for a taste of that), but revels in the invention of the contrapuntal lines and fully embraces the keyboard's emancipation from accompanying role to sparring partner. His woozy rubato might drive some listeners crazy, but I'm all for it; this is playing rooted in bulletproof scholarship, but the scrunchiest harmonies and most roguish dance rhythms always win out.


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