J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006
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CD Details
Composer: Johann Sebastian BachEdition: Music CD
Format: Hybrid SACD - DSD, Import
CD Release Date: 2005-06-14
Music Label: Pentatone
Soundtracks:
Music CD 1
- Sonata for solo violin No. 1 in G minor, BWV 1001
- Sonata for solo violin No. 1 in G minor, BWV 1001
- Sonata for solo violin No. 1 in G minor, BWV 1001
- Sonata for solo violin No. 1 in G minor, BWV 1001
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Partita for solo violin No. 1 in B minor, BWV 1002
- Sonata for solo violin No. 2 in A minor, BWV 1003
- Sonata for solo violin No. 2 in A minor, BWV 1003
- Sonata for solo violin No. 2 in A minor, BWV 1003
- Sonata for solo violin No. 2 in A minor, BWV 1003
- Partita for solo violin No. 2 in D minor, BWV 1004
- Partita for solo violin No. 2 in D minor, BWV 1004
- Partita for solo violin No. 2 in D minor, BWV 1004
- Partita for solo violin No. 2 in D minor, BWV 1004
- Partita for solo violin No. 2 in D minor, BWV 1004
- Sonata for solo violin No. 3 in C major, BWV 1005
- Sonata for solo violin No. 3 in C major, BWV 1005
- Sonata for solo violin No. 3 in C major, BWV 1005
- Sonata for solo violin No. 3 in C major, BWV 1005
- Partita for solo violin No. 3 in E major, BWV 1006
- Partita for solo violin No. 3 in E major, BWV 1006
- Partita for solo violin No. 3 in E major, BWV 1006
- Partita for solo violin No. 3 in E major, BWV 1006
- Partita for solo violin No. 3 in E major, BWV 1006
- Partita for solo violin No. 3 in E major, BWV 1006
Music reviews of J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006
Music Review: Thoughtful Readings
Rating: 4 Stars
Bach's unaccompanied sonatas and partitas for solo violin can act as multiple litmus tests, mercilessly revealing a player's cultural, temperamental, intellectual, and technical selves. That is certainly the case with Julia Fischer's set. It shows her to be technically proficient and thoughtful in regard to the structures and, to some degree, the expressive (affective) content of these works. But it also tells the world that she is still a young artist, and that she may have more to say about this music -- and the temerity to say it -- after she's been around a while longer.
Listeners contemplating the purchase of yet another Bach Unaccompanied set will also have to look to their own tastes in deciding whether Fischer fits the bill. Have you long since acquired, and exhausted, the classic Milstein performances? Did you find Perlman nicely polished, or just a bit too slick? Did you respond well to Kremer's impetuosity and drama, or consider his approach overly rough and improvisatory?
In the liner notes, Ms. Fischer tells us that for years she has warmed up every day with these pieces. It shows. She is obviously familiar with them, and her technical security and sense of "what comes next" have benefited. But with familiarity comes a certain complacency, and warmups can encourage a performer to emphasize sheer mechanics: pitch accuracy, evenly smooth bowing, perfect finger coordination, etc. That is what I personally hear as a guiding principle in most of these interpretations. They are soft-edged, maintaining steady tempi, using the middle third of the bow, employing subtle and consistent accents, phrasing, and dynamic emphases.
Nothing wrong with those choices. In many aspects, they may lie closer than some others to what Bach had in mind. But I found myself respecting Fischer's efforts rather than becoming involved in the music itself. In the end I went back to Hilary Hahn's debut disc (which includes some but not all of these works) in order to hear controlled and thoughtful Bach performances with more passion, more bite (bowing at the frog when needed), and more overall humanity.
The SACD recording is quite good, but if anything it emphasizes the mellow, moderated quality of these performances with a violin timbre that is never unpleasant but seldom provides the range of colors that one might hope to hear, even in Bach. Especially in Bach?
I think Ms. Fischer is heard to better advantage in her Pentatone recording of the Russian concertos -- maybe she didn't feel a "Romantic" approach was as appropriate for Baroque music. The result sounds curiously old-fashioned, however, especially given the recent tendency in historically informed Baroque performance to emphasize drama and individualistic expression (e.g., Rachel Podger, Andrew Manze). By comparison, Julia Fischer's Bach comes off as a careful effort by a recent conservatory graduate. Still worth hearing, but perhaps more as an emblem of her undeniable promise.
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