Composer: Johann Sebastian Bach
Performer: Gil Shaham
Audio CD
Number of Discs: 1
Format: FLAC (tracks)
Label: Canary Classics
Size: 1.23 GB
Recovery: +3%
Scan: yes
Violin Sonata No. 1 in G Minor, BWV 1001
01. I. Adagio
02. II. Fugue: Allegro
03. III. Siciliana
04. IV. Presto
Violin Partita No. 1 in B Minor, BWV 1002
05. I. Allemanda
06. II. Double
07. III. Corrente
08. IV. Double. Presto
09. V. Sarabanda
10. VI. Double
11. VII. Tempo di Bourree
12. VIII. Double
Violin Sonata No. 2 in A Minor, BWV 1003
13. I. Grave
14. II. Fuga
15. III. Andante
16. IV. Allegro
Violin Partita No. 2 in D Minor, BWV 1004
17. I. Allemande
18. II. Courante
19. III. Sarabande
20. IV. Gigue
21. V. Ciaccona
Violin Sonata No. 3 in C Major, BWV 1005
22. I. Adagio
23. II. Fugue
24. III. Largo
25. IV. Allegro assai
Violin Partita No. 3 in E Major, BWV 1006
26. I. Preludio
27. II. Loure
28. III. Gavotte en rondeau
29. IV. Menuett I-II
30. V. Bourree
31. VI. Gigue
These works have been part of Shaham’s concert programmes for over 10 years and for this recording he has decided on a ‘more Baroque set-up’ opting for a Baroque bridge, Baroque bow and 3 of 4 strings being gut.
When asked what effect this set-up has on his interpretation Gil indicated that ‘it changes every stroke, but it doesn’t really change general ideas of interpretation. You can do everything with both sets of bow and bridge, although some things are easier with the modern bow, some with the Baroque one. The “small softness” (coined by Leopold Mozart) is easier with the Baroque bow.’
The tempos Gil Shaham has settled on in this recording are also quite different from what one might expect. Shaham takes inspiration from other works by Bach, as he explains; ‘if you compare the French minuet from Partita No.3, with say the minuet from a French suite, or even the famous ‘Anna Magdalena’ minuet I found myself asking myself wouldn’t it work better at the same tempo as the others? The Baroque bow is lighter and is easier to play faster.’
The deluxe package comes complete with Shaham’s insightful views on these works in discussion with former Strad Magazine editor Ariane Todes.
Gil Shaham remains second to none in the masterworks of the mainstream violin repertoire, and here offers a recording of bold originality in what is one the most unforgiving of old-school challenges: that of playing solo Bach.