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Sonatas & Partitas for Violin Solo

Rachel Podger

Johann Sebastian Bach

SKU: 12198

Year of release: 1999

Sonata Nr. 1 In G Minor BWV 1001 16:16
1. Adagio Johann Sebastian Bach 03:42
2. Fuga Johann Sebastian Bach 05:38
3. Siciliano Johann Sebastian Bach 03:03
4. Presto Johann Sebastian Bach 03:51
Partita Nr. 1 In B Minor BWV 1002 30:38
5. Allemanda Johann Sebastian Bach 05:47
6. Double Johann Sebastian Bach 03:33
7. Corrente Johann Sebastian Bach 03:25
8. Double Johann Sebastian Bach 03:44
9. Sarabande Johann Sebastian Bach 03:49
10. Double Johann Sebastian Bach 02:33
11. Tempo Di Bourrée Johann Sebastian Bach 03:40
12. Double Johann Sebastian Bach 04:03
Partita Nr. 2 IN D Minor BWV 1004 29:14
13. Allemanda Johann Sebastian Bach 04:30
14. Corrente Johann Sebastian Bach 02:45
15. Sarabanda Johann Sebastian Bach 04:28
16. Giga Johann Sebastian Bach 03:59
17. Ciaccona Johann Sebastian Bach 13:31
Total time: 76:09

About this album

A poem about the poverty and riches of the violin. A bit of wood, a few strings and a bow, yet unbelievable what it can be made to produce. The last three lines are about mankind’s enormous power of perception – about all that his heart is able to follow and understand. Grillparzer is confident about man’s capabilities in this respect. He does not speak about what is beyond him.
It is highly debatable whether Grillparzer (a contemporary of Beethoven and Schubert) knew Bach’s six works for solo violin. Nevertheless he manages in this poem, without actually intending to do so, to go right to their core. It seems as if Bach demands the extremes from the violin, even more than it is capable of. A great deal is not actually performable as written, such as much of the chordal writing. Violinists and musicologists have devoted gallons of ink and hundreds of pages to this and numerous other aspects of the performance practice of Bach’s solo violin writing: much more than Bach himself needed to write down his six sonatas and partitas.
All these writers, from the first Bach biographer Forkel, to Albert Schweitzer and the great contemporary Bach expert Christoph Wolf, are children of their time and attest over and over to their ‘understanding’, their ‘truth’. In doing so, these authors raise more questions about Bach’s enigmatic works for unaccompanied violin than they can provide answers for. And then they give answers preceded by ‘perhaps’, ‘possibly’, or on occasion, ‘probably’……

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Jonas Magazine

(...) een artistieke en technische topprestatie van een veelbelovende violiste.

Haagse Courant

levendig spel van iemand die Bach goed in haar vingers heeft. Wat bij veel violisten in gezwoeg ontaard – vooral de talrijke dubbelgreep-passage- rolt er bij haar vrijwel moeiteloos it. (…)

BBC Music Magazine

Gold Choice (…)

Audiophile Audition

The Weekly Australian (…) her playing is superb (…)

Klassieke Zaken

(…) Vederlicht en speels, zodra het kan, introvert, bezonnen, ongehaast ook, maar zo vitaal dat er van saaiheid geen sprake is. Zij munt uit in een vlekkeloze intoinatie en perfecte beheersing van de dubbelgrepen. (…)

Klassiek Heute

eine blitzsaubere intonation (…)

BBC Music Magazine

(...) deeply considered performances, highly accomplished in technical terms, and full of musical insights. (...) (...) Her variety of touch and phrasing, lending richness to the implied harmonies of Bach's lines, brings the disc to a satisfying conclusion.

Hessische/Niedersächsische Allgemeine

Rachel Podger ërklart: "versucht man, ein Gleichgewicht zwischen drei dingen zu finden: der notierte Musik, dem instrument uns sich selbst". Das hat sie gefunden in dieser formvollendeten, Feuer sprühenden, technisch ausgefeilten, tief lotenden Einspielung.


Editor's Choice

Memphis TN

she is making music under her hands (...) (...) There's not a moment in these intricately plotted works that doesn't shine with dedication and insight (...) (...) she plays for the empyrean.


(...) an opportunity to hear her on her own (...) (...) her subtle phrasing, as in the B minor Corrente, with the fleetest of doubles, the cross-rhythms of her G minor Presto and, most strikingly, the sheer poetic feeling with which she imbues the initial Adagio of the G minor Sonata. She touches in cord lightly. (...) (...) Her D minor Giga is stunning. Altogether a most impressive and rewarding disc.

Technical Specifications

Digital To Analog ConverterSony
Mastering EquimentSony digital Editor 3000
Mastering EngineerJared Sacks
Mixing ConsoleRens Heijnis Custom made
MicrophonesBruel & Kjaer, Schoeps
Recording FormatPCM 44.1
Analog To Digital ConverterPrism 24 bit / Genex Recorder
Recording DateApril 1998
Recording LocationDoopsgezinde Kerk Deventer, The Netherlands
EditingJared Sacks
Recording Engineerjared Sacks
ProducerJonathan Freeman-attwood, Jared Sacls