Look: there are at least half-a-hundred recordings of Bach's Violin Sonatas available.
So, what's the attraction here?
Well, quite obviously it's Gould's participation.
Recordings made in the later phase of his career in Toronto (1975-76).
Laredo is a very competent craftsmanlike musician: his chief virtue at these sessions was that he could work well with the challenging, virtuosic, brilliant Gould who frequently in collaborations wanted to explore new visions which traditional [nearsighted] musicians oft found eccentric.
With Bach's egalitarian elevation to equality of voicing between the two instruments, he virtually established the modern violin sonata: as Geiringer says, `He planted precious seeds for the growth [of the genre], establishing, for the benefit of later generations, one of the most significant and cherished forms of joint music-making'.
The pieces are in some of Bach's favourite keys: b, A, E, c, f, and G.
And withal he proceeds to deploy a spectrum of forms and technical devices: part-writing for multiple voicing--(from 3 to 6 voices); movements from three to five; et cetera.
But even more striking is the individual character of alternating moods expressed: from ebullient and energetic, to philosophic and poetic, to pensive and tragic.
So in conclusion, if one wants HIPP, then one may have HIPP; if one wants Gould, then one may have Gould; if one wants Bach, then here he is.