Bach: Sonatas & Partitas Vol 2 / Rachel Podger

Track Listings

1. Partita No.3 in E, BWV 1006: Prld

2. Partita No.3 in E, BWV 1006: Loure

3. Partita No.3 in E, BWV 1006: Gavotte & Rondeau

4. Partita No.3 in E, BWV 1006: Menuet I, II

5. Partita No.3 in E, BWV 1006: Bourree

6. Partita No.3 in E, BWV 1006: Giga

7. Son No.2 in a, BWV 1003: Grave

8. Son No.2 in a, BWV 1003: Fuga

9. Son No.2 in a, BWV 1003: Andante

10. Son No.2 in a, BWV 1003: Allegro

11. Son No.3 in C, BWV 1005: Adagio

12. Son No.3 in C, BWV 1005: Fuga

13. Son No.3 in C, BWV 1005: Largo

14. Son No.3 in C, BWV 1005: Allegro Assai

Editorial Reviews
Amazon.com
Not only are Bach's solo violin sonatas and partitas among the greatest and most demanding works in the repertory, but they've been recorded by the century's top fiddlers, from Heifetz, Milstein, and Szigeti to Kremer and Grumiaux. Those versions offer more emotional and intellectual nourishment than Podger can offer, but the growing army of Bachians who insist on gut-stringed Baroque instruments and period-style embellishments and phrasing will strongly disagree. Even traditionalists will admire her technical expertise, impeccable intonation, and springy rhythms, among much else to enjoy on this fine disc. For example, the Preludio of the Partita No. 3 that opens the disc bursts with joyous life, and the Grave opening of the Sonata No. 2 has a solemn depth that eludes so many period practitioners. If you enjoyed her first volume of the Sonatas and Partitas, you'll love this one, too, but do listen to the veterans mentioned above, for they remain supreme. --Dan Davis

Tracks:

Son No.1 in g, BWV1001: I. Adagio
Son No.1 in g, BWV1001: II. Fuga (Allegro)
Son No.1 in g, BWV1001: III. Siciliano
Son No.1 in g, BWV1001: IV. Presto
Son No.2 in a, BWV1003: I. Grave
Son No.2 in a, BWV1003: II. Fuga
Son No.2 in a, BWV1003: III. Andante
Son No.2 in a, BWV1003: IV. Allegro
Son No.3 in C, BWV1005: I. Adagio
Son No.3 in C, BWV1005: II. Fuga
Son No.3 in C, BWV1005: III. Largo
Son No.3 in C, BWV1005: IV. Allegro Assai
Original Master Recording Slate: Capitol Studios, March 26, 1954

Customer Reviews:

The deepest insights into Bach.......2005-05-17

Bach is my favorite composer, and of all Bach's works, the Goldberg Variations, and these solo violin sonatas/partitas, are my "desert island" works. I've listened to many recordings of these sonatas/partitas, from Yehudi Menuhin to Jascha Heifetz, Grumiaux, Perlman, Podger, and others. Milstein's survey from the 1950s on EMI stands as my favorite, in comparison with his DG rendition in the 1970s.

I had a conversation with one of the editors of the Penguin guide about these recordings, and Milstein was also his favorite, but he preferred the 70s DG version for reasons of sound quality and technical brilliance. I countered that the EMI Milstein set from the 50s was superior for the depth of insight brought to these pieces. Nathan Milstein was in his absolute prime when he first recorded this survey in the 50s. His insights into Bach are pure, with the required delicacy in slow movements, the right touch of silence here and there to let the music breathe, without being CONSPICUOUSLY slow, such as the Perlman set, which tends to drag at times. His fugues are perfectly light on their feet, his rhythms perfectly sprung, without making it a horse race. In short, Milstein stays out of the way of Bach in every moment of the EMI set, and we are face to face with the composer. But in the DG set from the 1970s, Milstein seems to be rushing through some passages (as does Grumiaux), with more regard for "technical brilliance" as the Penguin editor cited, instead of pure musicality and reverence of Bach. I have listened to both Milstein versions, and the 70s DG recording simply does not reach down into the depths of Bach in the same way.

The Jascha Heifetz rendition is also outstanding, but when you listen to it, you know that it's about Heifetz, not so much about Bach. Now, Heifetz was indeed the best of the best, in terms of his technical mastery. The one segment where Heifetz wins me over from everyone else is in the mighty Chaconne from Partita 2. In this Mount Everest of solo violin, Heifetz takes you on an exhilarating ride that leaves you speechless. I have never heard the Chaconne played with such fearless power and confidence than from Heifetz. For that one segment alone, I bow to him above all others. He was indeed the best.

But Heifetz himself always heaped praise upon Nathan Milstein, which was exceedingly rare. Heifetz never praised anyone! Heifetz always demanded that his students go to see Milstein perform. If his students didn't go, they'd be in trouble! So Milstein certainly commanded a great deal of respect from Heifetz. And when you hear Milstein play the mighty Chaconne, he almost has the supreme technical mastery of Heifetz. Not quite, but almost. However, once again, when you hear the Heifetz version, you are hearing Heifetz, the master. When you hear the (50s EMI) Milstein version, you are hearing Bach.

I invite the listener to compare one specific movement between these two Milstein versions, and then make their own decision. Listen very carefully to the opening Grave movement from Sonata 2 in A Minor. Compare and contrast the depth of insight in the 50s version on EMI, and the 70s version on DG. You will most likely come to the same conclusion as I did after making my own comparison. Then compare other movements throughout the set, but start with that one. For me, there is no doubt. The 50s set is pure, unadulterated Bach at its finest. No other violinist came closer to the heart of this beautiful music than Milstein did in the 1950s. Even HE didn't get as close to it when he remade this music later in his life. And by the way, in terms of sound quality, this EMI set from the 50s is perfect! There is no cavernous reverb, just the pure unadulterated sound of Milstein's violin, so clean and clear that he is right there in the room with you. The two words I always come away with after listening to this 50s Milstein set on EMI are "intimacy" and "insight."

Earlier 1954 and 1956 versions.......2004-12-19

Supposedly the 1975 versions (includes partitas in the 2 cd set on DG) were better in Milstein's judgment. I think they are both amazing.

Milstein is a master.......2001-12-07

This recording not only demonstrates mastery over an instrument but also clearly demonstrates Bach's genius. A just plain wonderful pair Bach and Milstein. These mid 50's recordings are a must for lovers of true sonic beauty.

Bach: Sonatas & Partitas for Solo Violin

Average customer rating:

Impeccable! The standard performance
I still like Millstein better
Very best Bach for solo violin
Evocative Therapy
Glenn Gould's violin counterpart

Bach: Sonatas & Partitas for Solo Violin

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GXY
Release Date: 1997-04-15

Tracks:

Sonata no. 1 in G minor BWV 1001 - Adagio
Sonata no. 1 in G minor BWV 1001 - Fuga: Allegro
Sonata no. 1 in G minor BWV 1001 - Siciliana
Sonata no. 1 in G minor BWV 1001 - Presto
Partita no. 1 in B minor BWV 1002 - Allemanda
Partita no. 1 in B minor BWV 1002 - Double
Partita no. 1 in B minor BWV 1002 - Corrente
Partita no. 1 in B minor BWV 1002 - Double: Presto
Partita no. 1 in B minor BWV 1002 - Sarabande
Partita no. 1 in B minor BWV 1002 - Double
Partita no. 1 in B minor BWV 1002 - Tempo di Borea
Partita no. 1 in B minor BWV 1002 - Double
Sonata no. 2 in A minor BWV 1003 - Grave
Sonata no. 2 in A minor BWV 1003 - Fuga
Sonata no. 2 in A minor BWV 1003 - Andante
Sonata no. 2 in A minor BWV 1003 - Allegro

Tracks:

Partita no. 2 in D minor BWV 1004 - Allemanda
Partita no. 2 in D minor BWV 1004 - Corrente
Partita no. 2 in D minor BWV 1004 - Sarabanda
Partita no. 2 in D minor BWV 1004 - Giga
Partita no. 2 in D minor BWV 1004 - Ciaccona
Sonata no. 3 in C major BWV 1005 - Adagio
Sonata no. 3 in C major BWV 1005 - Fuga: Allabreve
Sonata no. 3 in C major BWV 1005 - Largo
Sonata no. 3 in C major BWV 1005 - Allegro assai
Partita no. 3 in E major BWV 1006 - Preludio
Partita no. 3 in E major BWV 1006 - Loure
Partita no. 3 in E major BWV 1006 - Gavotte en Rondeau
Partita no. 3 in E major BWV 1006 - Menuet I - Menuet II
Partita no. 3 in E major BWV 1006 - Bour
Partita no. 3 in E major BWV 1006 - Gigue

Customer Reviews:

Impeccable! The standard performance.......2007-04-20

Henryk Szeryng's "choked up", unembellished sound makes for a spot-on, highly profound and emotionally-charged interpretation. He really gets to the heart of the matter here that leaves all other performances of Bach's Sonatas and Partitas that I have heard in its wake.

I still like Millstein better.......2007-01-09

I have owned the Millstein recording on LP since ancient times. While Szering is excellent, I think Millstein has greater warmth and lyricism; his recording remains my first choice for these pieces.

Very best Bach for solo violin.......2006-04-10

It is not easy to meet a CD that listen over and over again these days. Recently I met it. When I listen the sample on the Amazon page the sound just caught me, "What is it?" "Different!".

Szeryng is not a present player, unfortunately he passed away for years ago. I am sorry I didn't know him until now. Because he spent his later life in Mexico, or he did not get a good manager, or he did not care about it, anyway he did not seem to get fame as he deserved it.

I like Bach solo violin set, especially the first sonata and the second partita. I have listened by some famouse violinists but I wonder I could meet beyond this in my rest of life.
In this CD, I love the first sonata, the first partita. Overall, the violin sound is brilliantly wonderful. I don't know why but when listening this CD the sound impresses me before music, that is not usual, I always care music before sound.

In Japan, his playing is often referred as great nobility or dignity, and he rarely makes mistakes, someone says the performance is like even silience after playing pleases me.

Evocative Therapy.......2005-10-30

Bach has always been a favorite and Szeryng an inspiration. I was a bit concerned with the Duetsche Grammaphone release, as I have heard many other artistical releases of dubious quality. But this one shines. I understand that Szeryng mastered these works very early in his career, his mastery is evident and haunting. A trip into the past, Szeryng shows his talent. It is such a blessing to be able to hear the masters performing masterworks, especially in the digital format that lends itself to hearing the whole release without interruption. It is most satisfying to retain that sort of connection with the music and the muscian.

Glenn Gould's violin counterpart.......2005-10-10

Szeryng's recording is outstanding. The main appeal of this recording for me was his ability to enunciate all the different voices of the Bach pieces. This is especially evident in his superb recording of the Chaconne. I am not surprised to see that many see this recording as close to Bach's text as possible. However, Szeryng has to do a lot of interpretation to get it to that state. If he was "only" sticking to the text, then why won't most other virtuosos follow this example? When I listen to Szeryng (this Bach recording over a thousand times), I never grow tired. It is true that when one first listens to it, it does not seem as remarkable as some other playings, but the beauty of Szeryng's playing is the purity and transcendence with which he plays Bach. Each measured, full and clear note rings with the heart-wrenching pathos evident in many of Bach's pieces.
Another advantage of Szeryng's recording is that he has pretty faithful tempo, no awkward pauses or lenghtenings for emotional effect. While this may render his playing seemingly unremarkable in the first few hearings, one quickly realizes the incredible richness and beauty. For example, if one reads Bach or plays Bach, one cannot help but imagine dramatic pauses, lengthenings, flourishes to fully convey the emotion that is in the pieces. However, when the piece is played literally to those "additions," the text is no longer pure Bach but a translated or filtered Bach. Any "emotional interpretation" of the listener is no longer based on Bach, but on that certain interpretation. Szeryng's virtuosity lies in his ability to play Bach faithfully and *beautifully, leaving the listener to appreciate and use the imagination. This, in my opinion after over a thousand listenings, is the reason why Szeryng has that lasting appeal.

J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006

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Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin
Thoughtful Readings
Bach by Julia Fischer
very good.
What a Surprise!

J.S. Bach: Sonatas and Partitas for Solo Violin, BWV 1001-1006

Manufacturer: Pentatone
ProductGroup: Music
Binding: Audio CD

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Release Date: 2005-06-14

Customer Reviews:

Julia Fischer performs J.S.Bach's Sonatas and Partitas for Solo Violin.......2007-05-07

In March I heard Julia Fischer playing Khachaturian's violin concerto at a concert at the Kennedy Center in Washington D.C. She is such a wonderful violinist that soon after I got home I checked what other performance of hers would be available from Amazon. When I saw this CD I promptly ordered it. Because on this CD she plays without an orchestra, her virtuosity is even more obvious and superb than in the concertos where she is accompanied by a full orchestra. I recommend this CD to everybody who likes the violin music of J.S.Bach!

Thoughtful Readings.......2007-01-09

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.

Bach by Julia Fischer.......2006-08-04

You must listen to this with SACD kit to do justice to the recording. OK CD layer is not too bad but with sensitive equipment you can hear so much more with the SACD it is unbelievable.
She is one of the best performers of Bach solo pieces if not the best. Milstein, Kagan, Grumiaux, Perlman are good. But she is something else. Timing, fluidity, expression I can go on and on. This is the most "musical" interpretation of these pieces I have heard so far.

very good........2006-06-11

At first I was stunned on how good it was to listen to these pieces in a great format as SACD. However, miss Fischer should pay more attention to the details instead of get every note just right. There aren't huge mistakes, which makes it worthy, but it isn't perfect. The booklet says that she's quite young to perform all of this pieces and I believe it's true. She can improve in the future.

What a Surprise!.......2006-03-09

I never thought this young violinist could play Bach in such a matured way. My version at home was Milstein, Szegeti, Kremer (not very good), and Grumiaux. But Julia Fischer's Bach has won so much praise and I just wonder why. Therefore I bought this pricy double SACD (no ordinary CD available).

I was surprised. It doesn't sound like she is young at all. According to Fisher, she played Bach every day. And she has been studying Bach since she was a little girl. No wonder she has attended to the details of it. The speed she took was relatively slow, especially for the Preludes and Sarabande. Her technique was impeccable, but it all sounded so natural. I once listened to Heifitz and I didn't quite like it. It sounded not like Bach. Fisher surely captured the elegance and warmth of one of Bach's most intelligent and intellectual works.

If you like Bach's Unaccompanied Sonata and Partita for Solo Violin, buy this. You won't regret. The recording quality was superb, too!

Bach: Complete Sonatas and Partitas for Solo Violin

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My old favourite
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A somewhat clinical, "perfect" Bach
I remember....

Bach: Complete Sonatas and Partitas for Solo Violin

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Binding: Audio CD

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ASIN: B00000417N
Release Date: 1994-02-15

Tracks:

Sonata No. 1 in G minor, BWV 1001: Adagio
Sonata No. 1 in G minor, BWV 1001: Fuga (Allegro)
Sonata No. 1 in G minor, BWV 1001: Siciliana
Sonata No. 1 in G minor, BWV 1001: Presto
Partita No. 1 in B minor, BWV 1002: Allemanda
Partita No. 1 in B minor, BWV 1002: Double
Partita No. 1 in B minor, BWV 1002: Corrente
Partita No. 1 in B minor, BWV 1002: Double (Presto)
Partita No. 1 in B minor, BWV 1002: Sarabande
Partita No. 1 in B minor, BWV 1002: Double
Partita No. 1 in B minor, BWV 1002: Tempo di Borea
Double
Sonata No. 2 in A minor, BWV 1003: Grave
Sonata No. 2 in A minor, BWV 1003: Fuga
Sonata No. 2 in A minor, BWV 1003: Andante
Sonata No. 2 in A minor, BWV 1003: Allegro

Tracks:

Partita No. 2 in D minor, BWV 1004: Allamanda
Partita No. 2 in D minor, BWV 1004: Corrente
Partita No. 2 in D minor, BWV 1004: Sarabande
Partita No. 2 in D minor, BWV 1004: Giga
Partita No. 2 in D minor, BWV 1004: Ciaccona
Sonata No. 3 in C, BWV 1005: Adagio
Sonata No. 3 in C, BWV 1005: Fuga
Sonata No. 3 in C, BWV 1005: Largo
Sonata No. 3 in C, BWV 1005: Allegro Assai
Partita No. 3 in E, BWV 1006: Preludio
Partita No. 3 in E, BWV 1006: Loure
Partita No. 3 in E, BWV 1006: Gavotte en Rondeau
Partita No. 3 in E, BWV 1006: Menuet I-II
Partita No. 3 in E, BWV 1006: Bourre'e
Partita No. 3 in E, BWV 1006: Gigue

Amazon.com essential recording

Arthur Grumiaux was among the most elegant and refined violinists who ever recorded. This doesn't preclude his playing the famous Chaconne with lots of power, which he does. But it means hearing Bach with all technical difficulties minimized to give you a clear view of the music. Sometimes, as in Joseph Szigeti's late recordings (Vanguard Classics OVC 8021/2), there is a sense of struggle between the violin and the music that for more dramatic Bach. Grumiaux allows you to hear everything Bach put into the music, and it all sounds beautiful. --Leslie Gerber

Customer Reviews:

Grumiaux and Bach.......2006-08-31

I originally ordered Heifetz playing Bach's sonatas and partitas because I was learning the Chaconne, but because it was going to take a month to arrive, I ordered Grumiaux in the meantime. I have been so pleased with Grumiaux' smooth tone, his vibrato (never too much), his flawless chords, and his near perfect intonation, that although my Heifetz recording has since arrived, I still listen to Grumiaux much more.

My old favourite.......2006-06-28

These works are, for me, the highest possible achievement of violin music, and rank alongside the Cello Suites and the Well-Tempered Clavier as Bach's most meditative, introspective and spiritually profound works. They take you through a whole range of emotions and moods, and probably not coincidentally, like the Cello Suites, they end on a bright note, almost like the light of heaven shining down on you. Listening to the fugal movements is like being in a private cathedral of sound. And I say this without being a religious person in any way - this music is more personally spiritual, without being necessarily 'religious', like so many of Bach's vocal works.

I first heard these works performed by Menuhin (like Grumiaux, a student of Enescu), and though I retain a fondness for his recordings, I think Grumiaux's version is, all around, the best. I do agree with some of the other reviewers that Milstein can give a bit more passion, and I particularly like how the lower parts of the counterpoint are often more audible in Milstein (for instance, in the beginning bars of the D-Major section of the Chaconne - which is less accented in the Grumiaux), but I personally don't like Milstein's steely tone that much, and Bach sometimes sounds too much like hard work in his versions. In contrast, Grumiaux's tone is much warmer, I find, though he can put on the power very well whenever it's needed, and his playing is so effortless, one is able to really appreciate the beauty and profundity of Bach's works.

I'm very partial to period interpretations normally, and having now acquired Rachel Podger's recordings, I prefer those in many aspects; but on the whole, I find Grumiaux better than the other 'authentic' performance I've heard, that of Kuijken. Grumiaux IS old-fashioned, but he avoids the excesses of most of the others of his generation (even Menuhin takes some movements - like the third of the G-Minor - so slowly, it's impossible to remember it's a dance-movement!), and plays something that seems, to me, to be very much something in the spirit of Bach, even if not entirely 'authentic'. As Manze has said, there's nothing intrinsically wrong with playing Bach on modern instruments - the music is truly universal! Even though on a few points here and there I do prefer other recordings, overall, I find Grumiaux's is simply the best - and I think definitely the best introduction to this awe-inspiring music.

Absolutely Essential.......2006-01-24

This is one of those recordings that belongs in everyone's classical collection from the beginning. It is without a doubt one of the most heartfelt, achingly beautiful, and totally masterful recordings ever made. There is simply nothing more to say.

Anyone who has it knows- and everyone who doesn't needs to.

A somewhat clinical, "perfect" Bach.......2005-05-17

These sonatas and partitas are among my favorite Bach works, alongside the Goldberg Variations. I've heard most of the great recordings of these suites by the great violinists, including this version by Grumiaux. My favorite rendition remains the 50s EMI survey by Nathan Milstein (not the DG version from the 1970s).

Now, Grumiaux stands tallest with me for his recordings of the Bach violin concertos and the famous double violin concerto, as well as his sublime version of the six violin/harpsichord sonatas (this is my favorite Grumiaux recording, and a "desert island recording" for me...an absolute must-have for anyone). For those, Grumiaux is unmatched in my opinion. But, in those cases, he has accompaniment that he must interact with. In these unaccompanied violin works, he has a subtle detachment. For an example, listen to the opening Grave movement from Sonata 2, and especially the Andante (movement 3) of Sonata 2. Grumiaux's technique is flawless, and he is almost at that magic threshold. Then, listen to Milstein play that Andante from the EMI 50s recording. You will hear exactly what I am talking about, something a bit too ineffable to put into words, but something you can hear. Given the fact that Grumiaux has recorded my favorite versions of Bach's other violin works, as I've mentioned above, this criticism was difficult for me to make.

I'm not suggesting a bombastic, romanticized account of these suites. Milstein finds the perfect balance (in his 50s version) between reverence of Bach and technical mastery. You feel every note of the music as it comes from Bach, and the depth of insight is extraordinary. Grumiaux captured that with his other recordings that I've mentioned above, but in these solo suites, there is a depth of feeling that is lacking. He's obviously more concerned with perfect form and cleanliness of line than he is with probing the music for its innermost secrets. Milstein achieves this, but on the EMI set from the 1950s, not the DG set from the 70s, where I think that Milstein also fell short.

It IS possible to have perfect form and cleanliness of line without sacrificing feeling. Milstein found that magic compromise in the 1950s on EMI. The words I always use after hearing the 50s Milstein are "intimacy" and "insight." His insights are so profound. Grumiaux's survey has impeccable sound quality, played on a gorgeous instrument, with flawless technique in the elegant style. Still, it doesn't get to the heart of this music. It's "perfect," but it doesn't speak to me.

I remember...........2005-05-16

One of those CDs you grow up listening to -- introducing one's soul to the beauty that is Bach. I remember buying this CD on a whim since it was so cheap the summer before heading to High School at a Sam Goodies -- it totally just restructured everything I knew about music. There is nothing like this recording out there. Seriously, buy it for your kids, and introduce them to "true love". It is what anyone if they listen carefully to this CD will realize is the essence to Arthur's playing.

Bach: Cello Suites, Sonatas & Partitas for Solo Violin - Christian Tetzlaff & Ralph Kirshbaum (4 CD's)

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Excellent overall
Wonderful
Unbelievable!

Bach: Cello Suites, Sonatas & Partitas for Solo Violin - Christian Tetzlaff & Ralph Kirshbaum (4 CD's)
Christian Tetzlaff , Ralph Kirshbaum , and Johann Sebastian Bach
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00030FJ9Y
Release Date: 2004-11-16

Tracks:

1. Adagio - Christian Tetzlaff
2. Fuga (Allegro) - Christian Tetzlaff
3. Siciliana - Christian Tetzlaff
4. Presto - Christian Tetzlaff
1. Allemanda - Christian Tetzlaff
Double - Christian Tetzlaff
2. Corrente - Christian Tetzlaff
Double (Presto) - Christian Tetzlaff
3. Sarabande - Christian Tetzlaff
Double - Christian Tetzlaff
4. Bourree - Christian Tetzlaff
Double - Christian Tetzlaff
1. Grave - Christian Tetzlaff
2. Fuga - Christian Tetzlaff
3. Andante - Christian Tetzlaff
4. Allegro - Christian Tetzlaff

Tracks:

1. Allemanda - Christian Tetzlaff
2. Corrente - Christian Tetzlaff
3. Sarabanda - Christian Tetzlaff
4. Giga - Christian Tetzlaff
5. Ciaccona - Christian Tetzlaff
1. Adagio - Christian Tetzlaff
2. Fuga - Christian Tetzlaff
3. Largo - Christian Tetzlaff
4. Allegro Assai - Christian Tetzlaff
1. Preludio - Christian Tetzlaff
2. Loure - Christian Tetzlaff
3. Gavotte En Rondo - Christian Tetzlaff
4. Menuet 1/Menuet 2 - Christian Tetzlaff
5. Bourree - Christian Tetzlaff
6. Gigue - Christian Tetzlaff

Tracks:

1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Menuet 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Bourree 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Gavotte 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum

Tracks:

1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Menuet 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Bourree 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum
1. Prelude - Ralph Kirshbaum
2. Allemande - Ralph Kirshbaum
3. Courante - Ralph Kirshbaum
4. Sarabande - Ralph Kirshbaum
5. Gavotte 1 & 2 - Ralph Kirshbaum
6. Gigue - Ralph Kirshbaum

Customer Reviews:

Excellent overall.......2006-03-28

The two works presented in this bargain set represent Johann Sebastian Bach's greatest contribution to the solo string reportoire.

Although usually marginalized, the Cello Suites are hidden diamonds in the solo literature, requiring a depth of humanity and musicality that few performers actually achieve, so concerned as they are with simply hacking away at this seemingly simple music. Kirshbaum's reading is full of warmth and power, and his instrument (from Bach's time period) sings almost of its own accord. Tempi are just right; the sense of pacing in the G Major Prelude is magnificent, giving the piece a gently rocking feel. Kirshbaum's double stopping (as called for by many of the Allemanda movements) is impeccable and very clean; the harsh, biting sound such double-stopping requires from other performers is not present here.

The focal point of the set is, of course, Christian Tetzlaff's reading of the Six Solos. In comparison with the "big names," such as Perlman, Milstein, and Grumiaux, Tetzlaff cannot quite compete. His tempi are exceedingly swift, and he lacks much of the humanity present in Milstein and Menuhin. As a result, the quicker movements, such as the E Major Preludio and the B minor Doubles, sound less like the masterpieces they are and more like simple etudes to be sawed away on.

Tetzlaff's traversal of the Chaconne, however, is a breathless, exciting journey, and he is in top form during the massive fugues in each sonata. The recording location, while resonant, allows the violin's sound to sing without losing it in a sea of reverb. Although he suffers from tempi issues, Tetzlaff's technique is never in doubt, and he is solid and secure (perhaps even a bit too secure) during this recording.

Overall, despite issues with tempi in the Six Solos, this set is a great bargain, and hopefully Tetzlaff will decide to record these pieces again later in life.

Wonderful.......2006-01-10

I've been listening to and studying Bach's solo cello and violin works for over 30 years. Although I love this music dearly, it's rare that I'm surprized by it anymore. However, listening to Tetzlaff and Kirshbaum, I felt as if I were hearing them for the first time all over again. Both musicians are such masters of their instruments that their "technique" never intrudes on the music. These are really breathtaking performances.

Unbelievable!.......2005-10-19

Both these artists are exceptional. I have always had trouble listening to "anybody else's interpretation" of the bach cello suites, being a cellist myself. This one is truly outstanding. The excellent Bach solo violin interpretation by Christian Tetzlaff is just an added plus -- I was most impressed that my father listened through all the way and just made one or two comments about how the music was "alive". He was rapt. My father doesn't do that easily.

Average customer rating:

really like it

Cello Adagios

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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Violin Adagios
Guitar Adagios
Baroque Adagios
Movie Adagios
Romantic Adagios

ASIN: B0001WU1QK
Release Date: 2004-05-11

Tracks:

Carnival Of The Animals - Bruno Canino
Vocalise, Op.34 No.14 - Lynn Harrell
Thais - Julian Lloyd Webber
Adagio - Janos Starker
Apres Un Reve - Bruno Canino
Adagio - Julian Lloyd Webber
Ave Maria - Julian Lloyd Webber
Adagio - Julian Lloyd Webber
Traumerei (Dreaming) - Bruno Canino
Notturno: Andante - Julian Lloyd Webber
Sicilienne - Bruno Canino
An Die Musik, D547 - Bruno Canino
Reverie - Julian Lloyd Webber
Prayer - Bruno Canino
Ebben? Ne Andro Lontana - Bruno Canino
Salut D'amour, Op.12 - Bruno Canino
Valse Sentimentale, Op.15 No.6 - Samuel Sanders
Kol Nidrei, Op.47 - Julian Lloyd Webber

Tracks:

Air (Air On A G String) - Julian Lloyd Webber
Clair De Lune - Julian Lloyd Webber
Elegie, Op.24 - Jullian Lloyd Webber
Andante - Heinrich Schiff
Romance In D Minor, Op.62 - Julian Lloyd Webber
Beau Soir - Bruno Canino
Sicilienne, Op.78 - Bruno Canino
Panis Angelicus - Julian Lloyd Webber
Nocturne In E Flat Major, Op.9 No.2 - Julian Lloyd Webber
Cantabile - Samuel Sanders
Liebesleid - Samuel Sanders
Adagio Ma Non Troppo - Janos Starker
Bereuse - Julian Lloyd Webber
Cantilena - Julian Lloyd Webber
Melodie, Op.20 No.1 - Julian Lloyd Webber

Customer Reviews:

really like it.......2007-03-05

This is the first classical cd I have ever bought. The two-disc album was a great price. I really love the performance of Lynn Harrell. I like the collection of Adagios because they are perfect to fall asleep to or study to.

Average customer rating:

Bach: Sonatas

Manufacturer: Onyx Classics UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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ASIN: B000PFU8MA
Release Date: 2007-07-10

Tracks:

I. Adagio
II. Allegro
III. Andante
IV. Allegro
I. Dolce
II. Allegro
III. Andante Un Poco
IV. Presto
I. Adagio
II. Allegro
III. Adagio Ma Non Tanto
IV. Allegro
I. Allegro
II. Largo
III. Allegro

Tracks:

I. Largo
II. Allegro
III. Adagio
IV. Allegro
I. Largo
II. Allegro
III. Adagio
IV. Vivace
I. Allegro
II. Largo
III. Allegro
IV. Adagio
V. Allegro
I. Adagio
II. Vivace
III. Largo
IV. Presto

Average customer rating:

Mostly good
Look at the List of Performers First
this "masterworks" series is available much more cheaply from Amazon France
You heard guy below: Beethoven needs the royality checks!
Buy my box Set!

Beethoven: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

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Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
Bach: Complete Works - 155 CD Box Set
Vivaldi: The Masterworks (Box Set)
Mendelssohn: The Masterworks [Box Set]
Brahms: The Masterworks (Box Set)

ASIN: B00062FLHE
Release Date: 2004-11-30

Customer Reviews:

Mostly good.......2007-05-26

A bit of a mixed bag. The symphonies are superb. This is one of the great symphony cycles. The piano sonatas are good, very good (analog) sound. The quartets are well recorded indeed, but there are better cycles out there. The rest is OK, and the sound is genrally good.

Look at the List of Performers First.......2006-11-17

If you want most of Beethoven sitting on one bookshelf, this is a great bargain (especially if you shop for it on amazon.de). But few if any of the performances represent the pinnacles of interpretation that most listeners demand when Beethoven is the composer. The symphonies for instance: can Blomstedt be compared to Furtwangler or (if you lean toward historically informed instrumentation) Gardiner? Most amazingly, the artists who perform the quartets -- the heart of Beethoven's music -- are not even named in the listing.
On the other hand: Vivaldi: The Masterworks is a collection including the very best interpreters, such as Fabio Biondi! Bach Edition (complete Bach) is a fabulous selection of recordings made over 20 years, and almost the same praise can be given the Complete Mozart.

this "masterworks" series is available much more cheaply from Amazon France.......2006-05-28

there are several sets in this series and it's much cheaper to buy these from Amazon France.

included are bach, beethoven, vivaldi, brahms, dvorak, schubert, handel, hayden, and mendelssohn.

they're even cheaper than the list price once u go through the checkout (VAT is removed for overseas (out-of-france) purchases).

**also, the 'complete works of mozart' set is much cheaper there (or at Amazon Germany), too. the 'complete works of bach' is due out later this year.

You heard guy below: Beethoven needs the royality checks! .......2006-04-07

There is quality beyond the Austrian green cardboard (which is lovely to look at, to say the least). In fact, the performance of the symphonies (Dresden Staatskapelle and Herbert Blomstedt) is alone worth the price. The Staatskapelle is a solid group, and Blomstedt, although less wellknown, holds his own. It should be mentioned that Blomstedt recorded many of the most celebrated 20th composition CDs on the market, and definitely knows his stuff. Peter Wohlert recorded mostly for compiliation lables, but to be selected by the Berlin Phil shows that he is a formdiable conductor in rank as well.

Should you buy this collection then? Given the fact that each CD cost $1.75, there is definitely the bargin factor. However, Beethoven's music desveres the top interpreters and musicians of our time - and this applies for all of his music, not just the symphonic. If you are into bargins, then proceed to buy this collection. However, if you save up a bit more, you can buy Karajan's 1963 Beethovens symphonies along with Kempff's 1956 sonata cycles for just a bit more than 70 bucks. Shop around for the string quartets, and the complete overtures should range anywhere from 15 to 30 bucks depending on the conductor/ensemble.

Overall, this is certainly an exceptional bargin. However, quality matter more than money. Besides, chicks dig people with sophisticated tastes.

Buy my box Set!.......2006-03-21

Awesome deal, 40 CD box set of me, Beethoven! There are 3 principle reasons you should buy this box set:

This box is QUALITY my friend, made of the finest, Austrian cardboard with a lovely green finish, it is made to last! You can just set it on your dresser and whenever you need a Beethoven fix you can just pull a CD out. But don't you hate getting your CDs out of order so you can't find what the hell you're looking for?! Not with this set! They are well organized into symphonies, concerti, sonatas and such, so you can find EXACTLY what your looking for, and they have big numbers on them so you can put them right back where they belong.

And the music! Need we go into this, composed through the inspiration of God himself and penned by the greatest composer who ever walked the streets of Vienna, me, Beethoven! Top notch, all done by top performers and recorded at high, clear, digital quality, stick one in your stereo and rock out man! All of my great and mighty works are here, absolutely sublime!

Lastly, you'll be supporting me, I need those royalty checks to keep rolling in!

Buy it if you love me or just buy it if you want people to think that you're sophisticated (the chicks also dig it, I should know: Antonie Brentano, giggity!), you can't go wrong!

Bach: The Six Sonatas & Partitas for Solo Violin

Average customer rating:

Wow!!
...

Bach: The Six Sonatas & Partitas for Solo Violin

Manufacturer: Analekta
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music

Niccolo Paganini: 24 Caprices For Solo Violin
Fritz Kreisler: Variations On A Theme By Corelli; Praeludium & Allegro; Sicilienne & Rigaudon
Wieniawski, Sarasate
Mozart: Violin Concertos
Bach: Sonatas for Violin and Harpsichord Vol. 1

ASIN: B00004Z3J9
Release Date: 2007-04-05

Tracks:

Sonata I In G Minor, Bwv 1001 / Sonate No.1 En Sol Mineur, Bwv 1001
Partita I In B Minor, Bwv 1002 / Partita No.1 En Si Mineur, Bwv 1002
Sonata Ii In A Minor, Bwv 1003 / Sonate No.2 En La Mineur, Bwv 1003
Partita Ii In D Minor, Bwv 1004 / Partita No.2 En Re Mineur, Bwv 1004
Sonata Iii In C Major, Bwv 1005 / Sonate No.3 En Do Majeur, Bwv 1005
Partita Iii In E Major, Bwv 1006 / Partita No. 3 En Mi Majeur, Bwv 1006

Customer Reviews:

Wow!!.......2007-04-01

James Ehnes, who I had never heard of previously, was the solo violinist when I went to the Montreal Symphony Orchestra. He was playing a piece from Bach's 3rd Symphony, I believe. My date and I were blown away by James. He was absolutely amazing, that's as close as I can get to describing. A few days later, I found a few of James' CDs and picked this particular album because it is Bach. It's wonderfully beautiful and still amazing. I highly recommend it to anyone who loves the violin or Bach. If you love both, even better. If you get the chance to do so, see and hear James live. Truly truly...wow!

..........2006-07-27

This may not be a particularily well-known recording of Bach's unaccompanied violin works, unlike the epic recordings by Milstein and Heifitz, but James Ehnes truly presents a mature reading that is worthy of comparison.
James Ehnes plays with a very rich tone. He truly gets to the core of the sound and the digital recording quality really helps to bring this out. One cut that is particularily well-played in my opinion is the fugue from the C major Sonata. Despite the difficult double/triple stop patterns, Ehnes plays with perfect intonation and makes it seem effortless. The amount of control that he has over his instrument is incredible. He is able to phrase even the most difficult passages beautifully.

Bach: Sonatas and Partitas for Solo Violin

Average customer rating:

Heavenly
the best Bach sonatas
Authoritative
The EMI version from the 50s is the definitive
Overwhelming

Bach: Sonatas and Partitas for Solo Violin

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Bach: Sonatas & Partitas for Solo Violin
Bach: Sonatas for Unaccompanied Violin
Bach: Partitas
Bach: Sonatas & Partitas
Bach: 6 Suiten für Violoncello solo

ASIN: B000001H00
Release Date: 1998-02-10

Tracks:

Sonatas And Partitas For Solo Violin: 1. Adagio
Sonatas And Partitas For Solo Violin: 2. Fuga. Allegro
Sonatas And Partitas For Solo Violin: 3. Siciliana
Sonatas And Partitas For Solo Violin: 4. Presto
Sonatas And Partitas For Solo Violin: 1. Allemanda
Sonatas And Partitas For Solo Violin: 2. Double
Sonatas And Partitas For Solo Violin: 3. Corrente
Sonatas And Partitas For Solo Violin: 4. Double. Presto
Sonatas And Partitas For Solo Violin: 5. Sarabande
Sonatas And Partitas For Solo Violin: 6. Double
Sonatas And Partitas For Solo Violin: 7. Tempo di Borea
Sonatas And Partitas For Solo Violin: 8. Double
Sonatas And Partitas For Solo Violin: 1. Grave
Sonatas And Partitas For Solo Violin: 2. Fuga
Sonatas And Partitas For Solo Violin: 3. Andante
Sonatas And Partitas For Solo Violin: 4. Allegro

Tracks:

Partita No.2 D-minor BWV 1004: Allemanda
Partita No.2 D-minor BWV 1004: Corrente
Partita No.2 D-minor BWV 1004: Sarabanda
Partita No.2 D-minor BWV 1004: Giga
Partita No.2 D-minor BWV 1004: Ciaccona
Sonata No.3 C Major BWV 1005: Adagio
Sonata No.3 C Major BWV 1005: Fuga
Sonata No.3 C Major BWV 1005: Largo
Sonata No.3 C Major BWV 1005: Allegro Assai
Partita No.3 E Major BWV 1006: Preludio
Partita No.3 E Major BWV 1006: Loure
Partita No.3 E Major BWV 1006: Gavotte En Rondeau
Partita No.3 E Major BWV 1006: Menuet 1
Partita No.3 E Major BWV 1006: Menuet 2
Partita No.3 E Major BWV 1006: Bourree
Partita No.3 E Major BWV 1006: Gigue

Amazon.com

Nathan Milstein plays these magnificent pieces with patrician elegance, easily overcoming their all-but-insurmountable difficulties. His burnished tone has a warmth like that of mahogany, and his fine fingerwork and flawless bowing make for an assured connection of ideas. In the Chaconne to the D minor Partita--which can make even a very good violinist sound overmatched and inept--he zeroes in with the sort of concentration one usually sees in chess champions. Here, as elsewhere in the cycle, Milstein projects not only the music's emotive force, but Bach's grand architecture as well. And thanks to the "Originals" remastering, his sound is more burnished than ever. --Ted Libbey

Customer Reviews:

Heavenly.......2007-05-18

Imagine hearing this recording of Nathan Milstein playing Bach's Chaconne over the sound system of the San Francisco Opera House! The San Francisco Ballet used this recording for the piece "Artifact Suite" for Muriel Maffre's Farewell Gala on May 6, 2007. The only way to describe the beauty of Milstein's performance is "heavenly". Such a musical treat on top of an evening of world-class dance was an unexpected delight.

the best Bach sonatas.......2006-07-30

After first hearing Milstein play these sonatas, I took the advice of some friends and bought the Heifetz and Szerzyng renditions for comparison. Although technically brilliant, I think Milstein stands out above the rest because--how best to put this?--because he loves every single note, and beautiful ones that Heifetz and Szerzyng for some reason speed past Milstein lifts up with exquisite care and tenderness to show us how sublime. In my book, Bach never had a better interpreter than Milstein.

Authoritative.......2006-03-28

Milstein's playing of these incredible pieces is overflowing with a patrician elegance balanced by his own style of almost "fiddling." The Stradivarius he utilizes is a happy balance between the resonant power of today's modern instruments with the warm, natural sound highly prized in Baroque violins.

His tempi are never too fast or too slow, and he has a magnificent sense of pacing throughout the great Chaconne. Because of his background in performance, Milstein's technique blends classical aristocracy with the soulful bends and vibrato of the Gypsy fiddle style. The result is a recording of the Six Sonatas and Partitas that captures them in all their technical accuracy, while reaching a depth of humanity rarely seen in other recordings. Milstein's 'Six' form an organic whole, not just a collection of pieces that happen to be placed together on a disc (unfortunately, many modern recordings of the solos feel exactly that way).

Milstein's unique intonation gives his interpretation a highly earthy and personal quality. Not to be missed.

The EMI version from the 50s is the definitive.......2005-05-17

Bach is my favorite composer, and of all Bach's works, the Goldberg Variations, and these solo violin sonatas/partitas, are my "desert island" works. I've listened to many recordings of these sonatas/partitas, from Yehudi Menuhin to Jascha Heifetz, Grumiaux, Perlman, Podger, and others. Milstein's survey from the 1950s on EMI stands as my favorite, in comparison with his DG rendition in the 1970s.

I had a conversation with one of the editors of the Penguin guide about these recordings, and Milstein was also his favorite, but he preferred the 70s DG version for reasons of sound quality and technical brilliance. I countered that the EMI Milstein set from the 50s was superior for the depth of insight brought to these pieces. Nathan Milstein was in his absolute prime when he first recorded this survey in the 50s. His insights into Bach are pure, with the required delicacy in slow movements, the right touch of silence here and there to let the music breathe, without being CONSPICUOUSLY slow, such as the Perlman set, which tends to drag at times. His fugues are perfectly light on their feet, his rhythms perfectly sprung, without making it a horse race. In short, Milstein stays out of the way of Bach in every moment of the EMI set, and we are face to face with the composer. But in this DG set from the 1970s, Milstein seems to be rushing through some passages (as does Grumiaux), with more regard for "technical brilliance" as the Penguin editor cited, instead of pure musicality and reverence of Bach. I have listened to both Milstein versions, and this DG recording simply does not reach down into the depths of Bach in the same way.

The Jascha Heifetz rendition is also outstanding, but when you listen to it, you know that it's about Heifetz, not so much about Bach. Now, Heifetz was indeed the best of the best, in terms of his technical mastery. The one segment where Heifetz wins me over from everyone else is in the mighty Chaconne from Partita 2. In this Mount Everest of solo violin, Heifetz takes you on an exhilarating ride that leaves you speechless. I have never heard the Chaconne played with such fearless power and confidence than from Heifetz. For that one segment alone, I bow to him above all others. He was indeed the best.

But Heifetz himself always heaped praise upon Nathan Milstein, which was exceedingly rare. Heifetz never praised anyone! Heifetz always demanded that his students go to see Milstein perform. If his students didn't go, they'd be in trouble! So Milstein certainly commanded a great deal of respect from Heifetz. And when you hear Milstein play the mighty Chaconne, he almost has the supreme technical mastery of Heifetz. Not quite, but almost. However, once again, when you hear the Heifetz version, you are hearing Heifetz, the master. When you hear the (50s EMI) Milstein version, you are hearing Bach.

I invite the listener to compare one specific movement between these two Milstein versions, and then make their own decision. Listen very carefully to the opening Grave movement from Sonata 2 in A Minor. Compare and contrast the depth of insight in the 50s version on EMI, and the 70s version on DG. You will most likely come to the same conclusion as I did after making my own comparison. Then compare other movements throughout the set, but start with that one. For me, there is no doubt. The 50s set is pure, unadulterated Bach at its finest. No other violinist came closer to the heart of this beautiful music than Milstein did in the 1950s. Even HE didn't get as close to it when he remade this music later in his life. And by the way, in terms of sound quality, the EMI set from the 50s is perfect! There is no cavernous reverb, just the pure unadulterated sound of Milstein's violin, so clean and clear that he is right there in the room with you. The two words I always come away with after listening to the 50s Milstein set on EMI are "intimacy" and "insight."

Overwhelming.......2005-05-06

Having heard these pieces a million times by various artists, I purchased the Milstein set. Upon receiving it, my wife suggested going straight to the center of the oreo cookie and listen to the chaconne from partita #2.

After sitting quietly for 14 minutes in stunned silence listening to Milstein saw away at one of the most gorgeous sounding violins these ears have ever heard, we looked at each other and said absolutely nothing.
At that moment it was clear that we had witnessed something truly miraculous. Such absolute control over this collosal work has rarely been heard. Most violinists struggle to move heaven and earth while negotiating the considerable difficulties involved but Milstein plays as though he's got technique to burn, like a Ferrari doing 25mph in a school zone.

Since then, I've obviously heard the entire album and although I must admit it is not my favorite recording, it is by far one of the most powerful and moving accounts on disk. The reason it is not my favorite is because I prefer a smaller sound and less drama in my Bach, a personal preference that all may not share. Listening to Milstein play Bach, as opposed to say, Aaron Rosand, is like listening to Eugene Ormandy and the Philadelphia Orchestra as opposed to say, Christopher Hogwood and the Academy of Ancient Music. Hearing Ormandy's ultra-lush, romantic sounding Bach or Handel is just plain wrong, I tell myself, yet it is a delightful indulgence comparable to eating a 16 ounce bar of my wife's finest swiss chocolate, a sin I've been guilty of.

By the way, don't tell my wife I said that. She may take away my Milstein, just to even the score.

Highly Recommended Bach.
Enjoy.

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L.D. 50

1. Partita No.3 in E, BWV 1006: Prld
2. Partita No.3 in E, BWV 1006: Loure
3. Partita No.3 in E, BWV 1006: Gavotte & Rondeau
4. Partita No.3 in E, BWV 1006: Menuet I, II
5. Partita No.3 in E, BWV 1006: Bourree
6. Partita No.3 in E, BWV 1006: Giga
7. Son No.2 in a, BWV 1003: Grave
8. Son No.2 in a, BWV 1003: Fuga
9. Son No.2 in a, BWV 1003: Andante
10. Son No.2 in a, BWV 1003: Allegro
11. Son No.3 in C, BWV 1005: Adagio
12. Son No.3 in C, BWV 1005: Fuga
13. Son No.3 in C, BWV 1005: Largo
14. Son No.3 in C, BWV 1005: Allegro Assai