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a r t i s t : Gidon Kremer
t i t l e : Bach-The Sonatas And Partitas For Violin Solo
d a t e : 2005
l a b e l : ECM
g e n r e : Classical
r l s. d a t e : Jan-2006
t r a c k s : 32
b i t r a t e : VBRkbps
s i z e : 180,3 MB
_______________________________________________________________________
Gidon Kremer - violin
Gidon Kremer╞s return to J. S. Bach╞s Sonatas and Partitas is a
major event. Kremer╞s first recording of these works was
released almost a quarter of a century ago, and in the past few
years the only solo piece of Bach╞s which he has performed with
any regularity has been the ⌠Chaconne÷. In 2001/2002 however,
he once again took the greatest challenge for any violinist,
Bach╞s magnificent ⌠Sei Solo÷, in Kremer╞s words the
⌠Himalayas÷ of violin music. The recordings were made in
locations closely linked with Kremer╞s biography: the Sonatas
were recorded in the Reformation Church of his birthplace,
Riga, while the Partitas were realized in the Pfarrkirche at
Lockenhaus, Austria, where he has held his famous annual
chamber music festival since 1981.
Those who have followed Gidon Kremer╞s artistic development
over the past 25 years will hardly expect a µhistorically
informed╞ interpretation in the conventional sense but will
nevertheless note how much his tone and articulation has
changed. The new rendering displays Kremer╞s very personal
sense of spontaneity and a readiness to take risks, yet it is
also marked by the structural awareness of an exceptional
musician who, in a unique way, does justice both to the
polyphonic wealth of the compositions and to their
juxtaposition of dance elements and reflective profundity.
For many critics and for listeners around the world, Kremer
himself set the standard for performance of this music: he was
33 years old when he first recorded the Sonatas and Partitas
for Philips in 1980. Of that recording Albert Roeseler wrote in
Great Violinists of our Century that Kremer played ⌠the violin
simply better, more excitingly and with more mastery÷ than
anyone, except for Jascha Heifetz and that his interpretation
of the Sonatas and Partitas comprised ⌠one of the best of the
many existing recordings, even those by Menuhin, Milstein,
Szeryng, Szigeti and others, which, at the time of their
releases, were given an almost reverential reception.÷
Kremer╞s intensive and varied career since then has been
well-documented. Encounters with musicians such as Luigi Nono,
Sofia Gubaidulina, Arvo PSrt or Nikolaus Harnoncourt led
Kremer, as he himself says, ⌠to find pathways in music which
have also influenced my approach to Bach.÷ Asked about his
motivation to re-enter the cosmos of Bach╞s solo works, he
characteristically responds with more questions: ⌠Was it the
fact that they represent the absolute pinnacle of the
literature for solo violin? Or perhaps I was aware that a lot
of interpretations I╞ve heard do not meet my expectations? That
I had the feeling I should once again dedicate myself to Bach;
a sort of µnow or never╞ decision?÷ Kremer believes that it
was, above all, ⌠simply the wonder of the µSei╞ themselves÷
which was his primary motivation. He felt a need to ⌠share this
experience with other like-minded people.÷ Kremer regards this
current interpretation ⌠as a sort of legacy of the violinist
GK÷, or at the very least, a ⌠final statement÷ on Bach. The two
essays which Kremer wrote for the extensive CD booklet reveal
how closely he identifies with this production.
It is audible that there is more at stake than just the
instrumental or musical success in the usual sense: ⌠If you try
too hard to be µright╞ you will never achieve the spirit of a
creator, who is only interested in the statement which
transcends his own abilities.÷ Kremer╞s utmost interest is in
this ⌠statement÷ and thus in ⌠something mystical beyond the
notes.÷ Lipatti, Gould and Gulda, Casals, Enescu and Menuhin
and also Nikolaus Harnoncourt are, in this sense, among
Kremer╞s influences: musicians who have taught him to see Bach
as even ⌠more humane, transparent and yet full of secrets.÷
Viewed this way, musical interpretation once again becomes a
risky endeavour with an unknown ending. Kremer knows this:
⌠Whether I have succeeded in getting across the (almost secret)
message as I would like, I can╞t judge. I leave that to those
who take more pleasure in drawing comparisons than I do.
http://www.ecmrecords.com/
_______________________________________________________________________
CD1
01-Sonata No. 1 in G minor - Adagio [04:06]
02-Sonata No. 1 in G minor - Fuga. Allegro [04:50]
03-Sonata No. 1 in G minor - Siciliana [03:04]
04-Sonata No. 1 in G minor - Presto [03:30]
05-Partita No. 1 in B minor - Allemande [04:37]
06-Partita No. 1 in B minor - Double [02:15]
07-Partita No. 1 in B minor - Corrente [03:30]
08-Partita No. 1 in B minor - Double. Presto [03:23]
09-Partita No. 1 in B minor - Sarabande [03:16]
10-Partita No. 1 in B minor - Double [03:08]
11-Partita No. 1 in B minor - Temop di Borea [03:31]
12-Partita No. 1 in B minor - Double [03:23]
13-Sonata No. 2 in A minor - Grave [04:28]
14-Sonata No. 2 in A minor - Fuga [07:56]
15-Sonata No. 2 in A minor - Andante [05:33]
16-Sonata No. 2 in A minor - Allegro [05:16]
CD2
01-Partita No. 2 in D minor - Allemande [04:22]
02-Partita No. 2 in D minor - Corrente [02:27]
03-Partita No. 2 in D minor - Sarabanda [03:29]
04-Partita No. 2 in D minor - Giga [04:04]
05-Partita No. 2 in D minor - Ciaccona [14:00]
06-Sonata No. 3 in C major - Adagio [03:23]
07-Sonata No. 3 in C major - Fuga [09:07]
08-Sonata No. 3 in C major - Largo [02:38]
09-Sonata No. 3 in C major - Allegro Assai [04:50]
10-Partita No. 3 in E major - Preludio [03:19]
11-Partita No. 3 in E major - Loure [03:46]
12-Partita No. 3 in E major - Gavotte en Rondeau [02:58]
13-Partita No. 3 in E major - Menuet 1 [01:39]
14-Partita No. 3 in E major - Menuet 2 [02:27]
15-Partita No. 3 in E major - BourΘe [01:16]
16-Partita No. 3 in E major - Gigue [01:50]
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