Customer Reviews

Bach: Complete Sonatas & Partitas for Violin Solo

5 star:		(17)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Rachel Podger has become one of the top artists of the Baroque violin and - like most of the great violin masters past and present - faces one of Baroque music's most challenging tests in these solo masterpieces of Bach. Musical technique aside, Podger's solo works here stand out from others for their smooth, warm, upbeat tones and most impressive intonation - but perhaps less for its sheer panache (as heard in her red-hot Vivaldi 'la Strav.'concertos).

Part of her beautiful tone must be due to 1739 Persarinius she used in addition to the pristine and vivid, all-digital recording Channel recording. But, where other performers emphasize the deeper, edgy emotive qualities of these intricate works, Podger takes a most pleasant, sunny line that with a smoother, less 'edgy' tonal quality. She presents a most human side of these works with an intonation that borders on perfection along with a fluidity and ease that commands admiration. If you prefer a strict Baroque 'astingent' sound, it will not be found here.

But not all 'warm' to Podger's purely warm tone here. Reviews from the music press were quiet divided, ranging from top accolades from Gramophone (and Gramophone highest 'Gem' Award) to outright dissing reviews from ClassicsToday that gave Vol. 1 an insultingly low 2/10 rating for "Artistic Quality." As other reviewers note, Ms. Podger's readings here have a more 'relaxed virtuosity' and are thus less overtly dynamic as compared to recordings by say, Perlman, Kremer or Grumiaux. To me, Podger's readings here stands out for their approachability. She tames these rather daunting, scholarly classics and translates them with great humanity. Milstein's classic readings should also be noted for their impeccable tone, technical ease, fluidity and artistic beauty.

In these pieces, Ms. Podger's greatest strengths lie in the bright, major-key works which exude a wonderful, extraverted and carefree joy (BWV1006 preludio or the BWV1005 allegro). She really brings out a vivid glow and effervencent dance rythym in such movements that can elevate the cloudiest spirit. Similarly, her crisp articulations and bowing in the marvelous A-minor allegro is both powerful and silky-smooth in its "echo" effects. She truly finds the joyful, sunny side of these works, which most should find delightful and most appealing.

However, the situation is a bit different in the pathos-imbued, minor-key works. In these compared to others, Ms. Podger still retains a warmer tone and does not quite emphasize the darker recesses of the compositions. An example is her reading of the famous D minor chaconne that is relatively mild-mannered (some even say dull and lacking) compared to other's readings in terms of intensity and panache. But, while some might see this as "short-changing" the music, I like the result for its overall refinement. Some will like her more restrained style in such works - others will not.

These impressive discs add to the many current high-quality offerings in the catalog. The sound quality is beautiful, full and vivid as any without being "reverbed out" like some. If you can only get one volume to start, I would say Volume II is the one to get for its carefree and effervescent lyrical qualities in the major-key works. Even if you have a favorite or two for these works, this exceptional musician is really worth hearing if you are not familiar with her Baroque specialties. Compositions - 5 stars; Performance - 5 stars; Sound quality - 5 stars.

I have played these works forever and have listened to so many recordings but the reason I like this one so much is Podger's ability to mezmorize without the use of vibrato, well she does use vibrato but only as an ornament. Her tone is warm and colorful, her staccato is powerful and completely convincing, her intonation flawless. If only I could play them this well I would be happy.

There seems to be an ongoing debate in the violin community about playing Baroque music with no vibrato and with authentic instruments. While I do not support this belief, I like all recordings for their subtle differences in tone and vibrato.

Of course my favorite solo Bach recordings are by Szeryng, Milstein, Hahn, Rosand, and Perlman (I like all of them for different reasons) but I enjoy this recording equally. Anyone who plays Bach that well should be heard and I look forward to her future releases.

I give this CD 5 stars without hesitation, her interpretation is completely unique.

Yummy!

I have only been listening to nine different recordings of these works, so I am in fact a complete novice in the field (and no musicologist at all), all the same I will try to give short comments on these nine interpretations that just might help you to choose which set you want to buy.

My personal favourite is no doubt John Holloway's recording (on ECM). When I first heard it I had only been listening to Shlomo Mintz (on DG) and Hilary Hahn (on Sony), so I feared the great Ciaccona/Chaconne of BWV 1004, because both of those artists' interpretations of that movement sounded like musical warfare, full of shrieks and noises. But Hallelujah! Guess what happened? The movement made sense to me for the first time - in Holloway's hands it is actually music! And the rest of the set also sparkles in Holloway's recording. What is so special about Holloway's version is that it has an almost spiritual, metaphysical aspect to it that nobody else achieves. It is a recording full of sublime transcendental beauty. That aspect of course is emphasized by the wonderful church acoustics (another great Manfred Eicher production from ECM). The booklet contains a performer's note and a few facsimile pages of Bach's beautiful handwritten score. If you are looking for just one recording, you don't really have to read further - I recommend that you buy Holloway's set.

If you have not bought Holloway's set yet, I have to say a little more about Mintz and Hahn: The aggressive approach in Mintz' Ciaccona/Chaconne is more or less present throughout Mintz' recording and in my opinion his playing does not quite justify it - it is "agitated" without having a reason to be so. If you want the sort of expressive power which Mintz is trying to put into these works Nathan Milstein (on DG) is a better option (NB: There is an earlier recording from EMI which I am not reviewing here). The problem with Hahn is that you are more impressed than moved; she plays fast - some might even say that she is superficial and skates over the essentials. Hahn also has a tendency to romanticize in the slow movements. Besides it is not a complete recording, she only plays half the works (BWV 1004, 1005 and 1006). However, her version of BWV 1006 is probably my favourite because of its exquisite, exuberant brilliance that fits that partita well.

Sigiswald Kuijken (on DHM) is almost as good as Holloway and he almost reaches Holloway's metaphysical heights, but his Ciaccona/Chaconne is not entirely perfect, it sounds like separate movements put together rather than as a whole. The performance has rougher edges than Holloway's, which can be a good thing. (NB: I am reviewing the 2001 release from DHM not the earlier release on the same label.)

Viktoria Mullova (on Onyx) and Rachel Podger (on Channel) are more down to earth than Holloway, but they both play beautifully. Maybe Podger is a somewhat overrated performer of Bach's music for solo violin. Her recording has been praised by numerous critics and it is so beautiful that I would like to like it more, but isn't it just a little bit boring? I am listening to it right now and again I get this sort of feeling: "Yes, it is beautiful, but why am I listening to it?" That question answers itself when I listen to Holloway or Kuijken. With Kuijken and Holloway playing the music explains itself, it says: "I will just explain how this sounds." If you are looking for clarity and serenity choose Mullova. Make sure you buy the new Onyx set not the old Philips release!

If you want the slow movements played slow and the rest played beautifully by a young talented violinist Julia Fischer (on Pentatone) should be your choice.

Henryk Szeryng's first recording (on Sony) from 1955 is very serious and intense, a haunting (but also demanding) experience. Szeryng later made another recording for DG but I have not heard it (yet). Of course you should expect less than perfect sound on a recording that is more than fifty years old.

Mullova, Kuijken, Podger and Holloway play period instruments.

Szeryng, Mintz, Milstein, Hahn and Fischer play modern instruments.

Podger's reading of the Six is technically dazzling and wonderfully recorded. Her style and choice of instrument (a Baroque violin) capture the dance origins of many of the movements from each sonata and partita, especially the D minor Giga. She plays with an incredible lightness that makes these works sound as though they are effortless. She freely adds mordents, trills, and other minor articulations not written into the original manuscript (of which I have a copy), though these additions do nothing to detract from the overall performance.
Her tempi are swift (sometimes exceedingly so), and the Ciaconna in particular moves with an almost breathless pace (though not TOO fast, as in Van Daeyl's version for Naxos). Overall, though I thoroughly enjoyed these performances, the budget recordings (available at your local music store) by Christiane Edinger on Amadis (a Naxos label) are my favorites. For most, though, Podger will suffice. Edinger plays in a hard, almost violent manner, as though her life depends on this music (especially in the Ciaconna), while Podger's playing is sheer exuberance and love for the music. Both renderings capture the spirit and sheer virtuosity of Bach's most impressive creation. This set is a bargain by far, though, and is highly recommended!

This recording has changed forever the way I hear, play, and teach this music. I am sorry that it can't be my very first exposure to solo Bach; however, I can make it be for many of my young students.
I will always be grateful for this great gift to the world.

I have bought a few other versions of the Bach Sonatas and Partitas, including two period-instrument versions, but none has satisfied me as has Rachel Podger's. I am struck first of all by the great beauty of her 1739 Genoese violin, which is especially mellow and rich in the D and G strings. All the elements of her interpretation - her variety of articulation, her feeling for the logical flow of Bach's ideas, her utterly convincing delineation of implied polyphony - are bathed in a beautiful, sweet, silky tone, free from the astringency of some baroque players. Moreover, Podger's easy command of the technical complexities of the music is astounding; there is no sense of strain whatsoever. These are intimate readings, emphasizing lyricism and nuance rather than "grandeur". The startling commendations I had heard about this release ("the finest recordings of these works I've ever heard" - National Public Radio) made me want to order it. I can now say that after several attempts at discovering the ideal version of the six Bach violin solos, I have finally found it. It is the only version that now sits on my CD shelf.

Whatever melancholy soulfulness you've heard in previous performances of Bach's Sonatas and Partitas for Solo Violin, you won't hear in the recording by Rachel Podger. This Bach is the music of a youthful athlete, sounding as optimistic as Ms. Podger looks on the cover of the CD. There's no question that Rachel Podger has vigorous mastery of her fiddle, and that this performance is uniformly enjoyable. It would only dog-in-the-manger to wish that her "affective" range were a little wider, somewhere closer to cellist Anner Bylsma, for instance, than to Yo-yo Ma. But then perhaps I'd have to worry about over-interpretation.
I've been tacitly rebuked recently for not calling listeners' attention to Rachel Podger. One could do worse than to trust her "complete" technique to be worth hearing on any of her recordings of Bach or Mozart.

There is little I can add to the glowing reviews already posted. I think Rachael Podger a very fine fiddler and I own a number of her recordings.
Here I feel that she plays Bach with love and a deep affection, it is much more than a demonstration of technical ability. I have never been able to get that feeling with Grumiaux's version which I find harsh and mechanical, whereas I find his playing of Mozart, Beethoven and Schubert, in particular their chamber music, excellent. Ms Podger and her baroque violin are superb; 5 stars.

I have many different versions of Bach's Sonatas and Partitas for solo violin, but I must say this is the best one I have heard. Rachel Podger's violin has a richer tone not found in most contemporary violins, and her interpretation of the music is quite original. The way she plays makes it seem almost effortless without sounding too lackadaisical. She has a kind of flow that is enlightening as well as dramatic. In my opinion, this is the best rendition of Bach's famous solo violin works.

The Bach Partitias and Sonatas for Solo Violin are my favorite works of classical music, and I really think that you could play them on an accordion and they'd sound wonderful.

Therefore, I think that having multiple artistic interpretations of these pieces should be an essential part of any Bach or classical music lover's collection.

Unfortunately, until recently I've satisfied myself with just Grumiaux's interpretations, which I found to be near perfection.

Luckily though I broke out of this prejudice and purchased Hilary Hahn's playing of 3 of the pieces and now the Rachel Podger CDs.

Podger's playing is very elegant and refined, never flashy and showy-even though she plays the most difficult passages with an unmistakeable virtuosity.

Listening to them, I feel almost as though I'm in an 18th century drawing room, wearing a powdered wig and hearing the most sublime music. She brings the best of tradition and modern techniques to the playing of these pieces, and the result is a top-shelf classical music CD.