Julia Fischer – Bach: Sonatas & Partitas for Solo Violin, BWV 1001-1006 (2005) [nativeDSDmusic DSF DSD64/2.82MHz]

Johann Sebastian Bach – Sonatas & Partitas for Solo Violin, BWV 1001-1006 – Julia Fischer (2005) 
DSF Stereo DSD64, 1 bit/2,82 MHz | Time – 02:28:48 minutes | 5,88 GB | Genre: Classical
Studio Masters, Official Digital Download – Source: nativeDSDmusic | Booklet, Front Cover | © Pentatone Music B.V.
Recorded: Doopsgezinde Singelkerk, Amsterdam, 12/2004

No doubt many of you are wondering whether I should be recording Bach’s complete sonatas and partitas at the age of only 21. Perhaps I should have waited a bit longer? Well, patience has seldom been my strong point, and after all I have already waited a number of years for an opportunity to record these works. During the first six years of study with my teacher Ana Chumachenco, I studied the sonatas and partitas thoroughly, and first performed both cycles in their entirety in the Bach year 2000, during the course of two evenings at the Mecklenburg-Vorpommern Festival. Ever since that intensive “Bach month”, in which I concentrated purely on the music of this composer, I have felt the urgent need to hold on to the sonatas and partitas by means of a recording. This musical experience led me to overcome my many years of aversion to studio recordings. Thus, I decided at the time already to reserve my first solo CD for the music of Bach.

Julia Fischer’s solo Bach recordings add up to quite an impressive achievement for a 21-year-old violinist. Not only has she mastered her instrument on just about every level, but she also possesses an instinctive understanding of the rise and fall of Bach’s melodies and how to project the composer’s implied polyphony within a single line. In the G minor sonata’s Presto, the B minor partita’s Courrente and first Double, and the E major partita’s Gigue, for example, Fischer colors her light, effortless bowing with phrasings and accents that clarify the music’s inner rhythms and harmonic subtleties over the bar lines, yet without sacrificing dance-like momentum. She also achieves this by the consummate ease and focus with which she executes Bach’s four-note chords, notably in her broad and mesmerizingly sustained interpretation of the great D minor Chaconne.
The E major Preludio’s perfectly terraced dynamics and uplifting drive evokes Bach’s incarnation of the same music as the Sinfonia of his Cantata No. 29. Yet there are times when Fischer’s phrase groupings convey a more fragmented, less cohesive line than she possibly intends, such as in the G minor partita’s Siciliano and the C major sonata’s opening Adagio. Both lack the sense of long line and pulsating lilt you hear in James Ehnes’ more vividly characterized performances. I generally prefer the latter’s cycle by virtue of his prettier tone and superior voicing of the fugues. In the main, however, Julia Fischer’s heartfelt and accomplished Bach playing is nothing less than world class, and so is PentaTone’s surround-sound engineering. -Jed Distler, ClassicsToday


Johann Sebastian Bach (1685-1750)

Sonata No. 1 in G Minor, BWV 1001
1 I. Adagio 4:41
2 II. Fugue: Allegro 5:55
3 III. Siciliana 2:59
4 IV. Presto 3:35

Partita No. 1 in B Minor, BWV 1002
5 I. Allemanda 6:27
6 II. Double 02:53
7 III. Corrente 2:59
8 IV. Double. Presto 3:28
9 V. Sarabanda 4:17
10 VI. Double 3:11
11 VII. Tempo di Bourree 3:56
12 VIII. Double 3:36

Sonata No. 2 in A Minor, BWV 1003
13 I. Grave 4:53
14 II. Fuga 8:12
15 III. Andante 5:30
16 IV. Allegro 5:34

Partita No. 2 in D Minor, BWV 1004
1 I. Allemande 4:42
2 II. Courante 2:28
3 III. Sarabande 4:54
4 IV. Gigue 4:02
5 V. Ciaccona 15:47

Sonata No. 3 in C Major, BWV 1005
6 I. Adagio 5:20
7 II. Fugue 10:33
8 III. Largo 3:55
9 IV. Allegro assai 4:46

Partita No. 3 in E Major, BWV 1006
10 I. Preludio 3:25
11 II. Loure 5:08
12 III. Gavotte en Rondeau 3:09
13 IV. Menuets I – II 3:56
14 V. Bourrée 1:28
15 VI. Gigue 1:53

Julia Fischer, Violin: Jean Baptiste Guadagnini from 1750



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