Partitas [Import]

Track Listings

1. Praeludium

2. Allemande

3. Corrente

4. Sarabande

5. Menuet 1

6. Menuet Ii

7. Cigue

8. Partita No. 2 C Minor -M Sinfonia

9. Allemande

10. Courante

11. Sarabande

12. Rondeaux

13. Capriccio

14. Partita No. 6 E Minor- Toccata

15. Allemande

16. Corrente

17. Sarabande

18. Tempo Di Gavotta

19. Cigue

20. Partita No. 3 A Minor - Fantasia

See all 39 tracks on this disc

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

Average customer rating:

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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ASIN: B00097HE8U
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!

Average customer rating:

The deepest insights into Bach
Wonderful Bach from "that other Russian"

Bach: Partitas

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000AF4V
Release Date: 1998-09-08

Tracks:

Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.1 in B Minor
Partita No.2 in D Minor
Partita No.2 in D Minor
Partita No.2 in D Minor
Partita No.2 in D Minor
Partita No.2 in D Minor
Partita No.3 in E Major
Partita No.3 in E Major
Partita No.3 in E Major
Partita No.3 in E Major
Partita No.3 in E Major
Partita No.3 in E Major

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."

Wonderful Bach from "that other Russian".......2002-05-03

Jascha Heifetz and Nathan Milstein both studied under the great Russian paedogogue Leopold Auer (whose violin method is still standard teaching material). Both emigrated from Russia after the Bolshevik Revolution and both found fame and fortune in the West. Heifetz has always been regarded as the greater of the two, and that judgment probably is sound. But Milstein was a master, no doubt about it. He possessed a sovereign technique and played with an aristocratic grace and sense of taste that few other violinists would even dare attempt to emulate. He played Bach's nonpareil unaccompanied sonatas and partitas throughout his long career (which extended from the '20s into the 1980s), and recorded them twice. This version of the partitas (originally recorded by Capitol) dates from the 1950s ... a companion CD containing the sonatas is also available. In spite of the fact that this is a mono recording, I defy anyone to find technical fault with it. Capitol's engineering in the 1950s was first class, among the best in the world. (And do you really need stereo for a solo violin?) Anyway, as good as Milstein's later DG stereo Bach recordings are, these strike me as fresher and more inspired. With competition in this music coming from the likes of Heifetz, Menuhin, Szeryng, Vegh, Rosand and Grumiaux, it's impossible to call any violinist's recording definitive. For my money, though, Milstein comes close to earning that impossible accolade. Simply wonderful music making!

Bach: Complete Sonatas and Partitas for Solo Violin

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Grumiaux and Bach
My old favourite
Absolutely Essential
A somewhat clinical, "perfect" Bach
I remember....

Bach: Complete Sonatas and Partitas for Solo Violin

Manufacturer: Philips
ProductGroup: Music
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)

Average customer rating:

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:

Another Amazing Angela Album
Good work without much personality
One woman and a piano...
Superb Performances of Sublime Music

Bach: The Six Partitas / Angela Hewitt
Johann Sebastian Bach , and Angela Hewitt
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Bach: French Suites / Angela Hewitt
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ASIN: B000003012
Release Date: 1997-05-09

Tracks:

Partita No. 1 In B Flat Major, BWV 825: Praeludium
Partita No. 1 In B Flat Major, BWV 825: Allemande
Partita No. 1 In B Flat Major, BWV 825: Corrente
Partita No. 1 In B Flat Major, BWV 825: Sarabande
Partita No. 1 In B Flat Major, BWV 825: Menuet I - Menuet II - Menuet I da capo
Partita No. 1 In B Flat Major, BWV 825: Giga
Partita No. 2 In C Minor, BWV 826: Sinfonia: Grave adagio - Andante - Allegro
Partita No. 2 In C Minor, BWV 826: Allemande
Partita No. 2 In C Minor, BWV 826: Courante
Partita No. 2 In C Minor, BWV 826: Sarabande
Partita No. 2 In C Minor, BWV 826: Rondeaux
Partita No. 2 In C Minor, BWV 826: Capriccio
Partita No. 4 In D Major, BWV 828: Ouverture - Allegro
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Partita No. 4 In D Major, BWV 828: Gigue

Tracks:

Partita No. 3 in A Minor BWV 827: Fantasia
Partita No. 3 in A Minor BWV 827: Allemande
Partita No. 3 in A Minor BWV 827: Corrente
Partita No. 3 in A Minor BWV 827: Sarabande
Partita No. 3 in A Minor BWV 827: Burlesca
Partita No. 3 in A Minor BWV 827: Scherzo
Partita No. 3 in A Minor BWV 827: Gigue
Partita No. 5 in G Major BWV 829: Praeambulum
Partita No. 5 in G Major BWV 829: Allemande
Partita No. 5 in G Major BWV 829: Corrente
Partita No. 5 in G Major BWV 829: Sarabande
Partita No. 5 in G Major BWV 829: Tempo di Minuetta
Partita No. 5 in G Major BWV 829: Passepied
Partita No. 5 in G Major BWV 829: Gigue
Partita No. 6 in E Minor BWV 830: Toccata - (Fugue)
Partita No. 6 in E Minor BWV 830: Allemande
Partita No. 6 in E Minor BWV 830: Corrente
Partita No. 6 in E Minor BWV 830: Air
Partita No. 6 in E Minor BWV 830: Sarabande
Partita No. 6 in E Minor BWV 830: Tempo di Gavotta
Partita No. 6 in E Minor BWV 830: Gigue

Amazon.com

Sometimes it helps not to specialize. As Angela Hewitt expands her horizons beyond Bach, her Bach, paradoxically, has ripened tenfold, as revealed in this magnificent set of partitas. One listens in vain for a single slip-up in timing or voicing. Articulation is marvelously varied, but never for the sake of variety itself. More to the point, the music's dancelike subtexts bring out a more deeply felt, emotionally three-dimensional music-making than encountered in Hewitt's previous Bach efforts. This gifted pianist has come into her own. Hear her. --Jed Distler

Customer Reviews:

Another Amazing Angela Album.......2007-07-19

Ms. Hewitt has once again managed to blow us away with another stunning perfect interpretation of Bach's Partitas. This is an excellent record for anyone learning Bach (especially those having problems with phrasing and counterpoint) or simply for enjoyment.

Good work without much personality.......2005-07-12

This was one of the first collections of Bach's Partitas I purchased on CD, having been promoted by British critics. Hewitt's playing in this music is linear, inoffensive, crystalline and lacking in personality. These are good performances but I don't believe this pianist is the final word in this music. The sound on these full priced CDs is fine.

I've tested a number of individual performances (Argerich, Pires, Wolf Harden, Anderszewski,others) and complete sets (Glenn Gould, Richard Goode, Andras Schiff, Roselyn Turek and Christopher Sager on piano and Igor Kipnis & Trevor Pinnock on harpsichord, Richard Troeger on clavichord) and have found some of the same shortcomings in all the sets or CDs recorded individually. A newer set by Craig Sheppard has gotten universally good reviews by U.S. critics; I haven't heard it.

In particular, Gould can be impatient and is poorly recorded part of the time. Sager is the epitome of blandness and Goode is not far behind. Turek is a unique voice in Bach and anything she does should be given utmost consideration. Her recordings of the Partitas contain all her typical characteristics -- deliberate approach, heightened elocution and near new discovery of the counterpoint. However, her approach is not always dynamic and will not suit all tastes.

On harpsichord, Pinnock's recordings are fascinating but don't wear well over time because they all sound so much alike. Only Kipnis, it seems to me, understands the difference between each Partita and how to project those differences in Bach's individual voice and humanity. Of the sets I've tested, his comes closest to portraying the unique qualities of the each of the six Partitas. Troeger's clavichord recording is a disaster -- slavishly metrical, unimaginative and ugly sounding.

I continue to cling to individual favorites (see my past reviews) including Elena Kuschnerova's fabulous performance of the titantic Partita No. 6, Gould's remarkable performance of Partita No. 4 and the unbelieveable performance of the Partita No. 1 by Dubravka Tomsic, included in a dirt cheap CD that I called "Best Bach CD on the Planet" in my Amazon review. It is a crime more people don't know about this remarkable CD, which is available for $4.98.

I hope a piano set arrives someday that mimics some of the individual creativity from Kipnis with the drama of Kuschnerova and uncanny musical understanding of Tomsic. Until that time, I wouldn't recommend you spend the better part of $30 for this collection, although this one better than overrated groupings by Richard Goode and Andras Schiff.

One woman and a piano..........2004-03-31

I first heard Angela Hewitt playing Bach on the radio, and immediately sought out a recording. This is what I ended up with, and months later it is still revealing new riches. The music, of course, is vast and rich, and Hewitt breathes life into every note. This is not the cold mathematical playing that some advocate for Bach (and that his music survives), this is Bach that sings and dances, contemplates and exults. Try this out if you want to hear how one slender woman, a piano, and a long dead composer can collaborate to create an entire world.

Superb Performances of Sublime Music.......2003-07-12

It is amazing that Bach's Partitas are the first compositions that he published, though he had written hundreds of others before them. It is also sobering that he had to pay for their publication, as he did for many of the 12 works that were published in his lifetime. [About 1080 compositions have survived, but it is thought that Bach probably wrote about 2000.]

These pieces are among the best of Bach's keyboard works and are played beautifully by Angela Hewitt. I enjoy hearing them played on harpsichord, too, but when they are played on the piano, I want the performer to treat it like a piano as Ms Hewitt does.

She plays stylistically, but is not afraid to occasionally use the pedal and to use the dynamic resources of the piano. I also recommend her set of French Suites.

Partitas 4 5 & 6 - 70th Anniversary Edition
Average customer rating:

Glen Gould at his best

Shallow and mechanical

ABSOLUTELY BREATHTAKING!!

Partitas 4 5 & 6 - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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ASIN: B00006FIAR
Release Date: 2002-09-03

Customer Reviews:

Glen Gould at his best.......2007-03-09

A compelling, even thrilling, performance. Satisfying in technical execution and sound engineering.Worthy of listening to over and over again.

Shallow and mechanical.......2006-09-14

Well, where do I start?

First thing I noticed about some of these recordings is a few arrangements sound a bit shallow and thin. Upon reading the liner notes, my observations were confirmed when I read that Glenn modifies his piano to play more responsively. He does this by "fixing the action - so that it is a shallower and more responsive action than the standard".

For the faster ones, this lends itself in some cases, and in others, you would expect more feeling in the music. "Partita IV - Gigue" is one of my favorite Bach arrangements...but it sounds almost like a completely different song to me when Gould plays it....so fast and mechanical, void of human emotion or feeling. I was a little let down by that aspect. Respectively though, he does play them flawlessly...and amazingly fast!

Something else that I've noticed, is that in many, if not all, of the recordings, you can hear someone humming along with the music. Sometimes it's faint, sometimes it's obvious. I don't know if it's Glenn, or a conductor, or the producer, or what...but it can be distracting. But ala 1950's recording I suppose.

Regarding the recording, most songs have a nice stereo spread...but some are monophonic, so when listening in headphones, you notice the inconsistency.

Sorry if I'm offending any Gould fans out there, but this review would have been helpful for me, if such a review existed and I do hope this review will be helpful to someone out there looking for recordings of their favorite Partitas.

ABSOLUTELY BREATHTAKING!!.......2006-05-16

The apogee of this recording is the toccata in e--the first movement of the e minor Partita, S. 830.

This is one of the first recordings GG made for Columbia--immediately after the Goldberg Variations in 1955, and made the same year.

Bach's "toccatas" contained three to five episodes generally following this formula: i) the toccata, proper; ii) an adagio or arietta section; iii) a fugue.

Bach's toccata in e consists of i) toccata, introduction; ii) fugue/aria; iii) toccata, conclusion.

GG was an odd bird: at heart, an ardent Romanticist; on the surface, a sleek Modernist. He does something remarkable with this piece: he infuses an ardently subjective Romanticism with an hard-edged Modernism, turning this antiquated Baroque piece inside out: he makes the upward rushing thrust of the toccata into a pain-filled cry, and the fugue into a studied glacier. With his uncanny timing, GG stretches the piece out to nearly 10 mins: the ending, when the aria theme returns to conjoin the toccata recapitulation--with Gould's exquisite timing and incredible manual dexterity--is absolutely breathtaking. This is incredible art.

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

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Niccolo Paganini: 24 Caprices For Solo Violin
Fritz Kreisler: Variations On A Theme By Corelli; Praeludium & Allegro; Sicilienne & Rigaudon
Wieniawski, Sarasate
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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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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.

Partitas 1 2 & 3 - 70th Anniversary Edition

Average customer rating:

Partitas 1 2 & 3 - 70th Anniversary Edition
Glenn Gould , and Bach
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00006FIAO
Release Date: 2002-09-03

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Rumored to Whisper Suspicions

Beethoven: The Complete Piano Sonatas, Vol. 7

Alleluias & Offertories

The Mighty Wurlitzer: Music for Movie-Palace Organs

Avenue Pt.2 [CD-single] [Enhanced] [Import]

Again & Again

Achterbahn [Import]

At Fillmore East [Hybrid SACD] [Live]

America Remembers

Anything Goes: The San Sylmar Theatre Organ

April in Paris [Import]

Amor de Luna

14 Spicy Cumbias

Sir Malcolm Arnold: Symphonies Nos. 1 & 2

Lonesome Dove

1. Praeludium
2. Allemande
3. Corrente
4. Sarabande
5. Menuet 1
6. Menuet Ii
7. Cigue
8. Partita No. 2 C Minor -M Sinfonia
9. Allemande
10. Courante
11. Sarabande
12. Rondeaux
13. Capriccio
14. Partita No. 6 E Minor- Toccata
15. Allemande
16. Corrente
17. Sarabande
18. Tempo Di Gavotta
19. Cigue
20. Partita No. 3 A Minor - Fantasia