Johann
Sebastian Bach:
Sonata for soloviolin nr.2 in A-minor, BWV 1003
Sonata for soloviolin nr.3 in C-major, BWV 1005
Partita for soloviolin nr.3 in E-major, BWV 1006
Rachel Podger, baroque violin (Pesarinius, Genoa 1739)
1999. Channel Classics CCS 14498 (fullprice)
This is volume 2 of Rachel Podger's brilliant survey of Bach's six sonatas and partitas for unaccompanied violin. I had some difficulty in deciding which of her two discs to concentrate on, and after some internal debate, my choice fell on the volume containing the two last sonatas and the last partita - for reasons I will return to.
Johann Sebastian Bach composed his famous suites for soloinstruments while at Köthen leaving for the world treasures of untold worth. In addition to the six works for soloviolin, he composed six partitas for the keyboard (Clavierübung), twelve suites (the six English and the six French) also for the keyboard, and of course the six suites for the cello. All of these are keyworks in the literature of their respective instruments, and are thus given wide appreciation and attention from virtually every musician.
The music surley is selfrecommending, and reigns supreme in the western opus for the violin. Bach's allencompassing vision of the instrument and its potential, is equally encyclopedic in emotional variety. One is put face to face with the most sincere beauty in, say the Loure of the 3rd. partita or the adagio of the 3rd. sonata, the playful elegance of the prelude and the docility the menuets of the 3rd. partita. The youthful gayety of the gavotte & rondo, and the whirlwind of the gigue. It is on these welltrodden paths Rachel Podger ventures in high spirits, bringing her marvellous technique and insight most others are destined only to dream of.
Rachel Podger opens the disc with the 3rd. partita and its prelude, with lightfooted spirits and an unusual brilliance of articulation. Her's is a reading that emphazises the flowing lines of these marvellous baroque dansemovements. This is a concept she applies to the partitas, giving us a thoroughly reflected performance. The following loure is rendered with great sensitivity in its silent and intimate beauty. The wonderfully ludic gavotte & rondo, the careful and slightly hesitant menuets are reproduced in with great fidelity as is indeed the bourrée and the splendid gigue. The second sonata - a typical four movement structure slow-fast-slow-fast, opens with a brooding contemplation followed by a fugue monumental in its gravity.
The main reason for my chosing the volume 2, of Poder's two discs is her treatment of the 3rd. sonata. This is the finest interpretation of this work I've ever heard, including accounts like those of Milstein and Grumiaux. The opening adagio is so etheric and intimate. The sonic virtues of Podger's gutstringed instrument is highly sensual with a soundstructure one can almost taste. The fugue of the C-major sonata is the greatest in these works, and forms the highlight of Rachel Podger's Bach. Her chice of line in a movement as complex as this fugue is revelatory, allowing the music to appear as an organic whole, a large logical entity. Much the same can be said about her treatment of the fearsome D-minor chaconne in volume 1. The fugue's intricate construction is presented as a long congruent line, moved by terrific drive and contrtolled with poise and impeccable taste. I am impressed, I assure you.
This is yet another highly recommendable recording from Dutch label Channel Classics. I am eagerly awaiting future releases from artists such as Pieter Wispelwey, Florilegium, and of course Rachel Podger.
2000© arne.mork@yahoo.com
