Texte paru dans: / Appeared in: ECM 4818558 |
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| Appréciation d'ensemble / Overall evaluation : PERFORMANCE 3* RECORDING 3* | ||||
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Reviewer: Jan
Smaczny
Bach’s sonatas and partitas for solo violin ‑ not to be confused with the six accompanied violin sonatas written at more or less the same time ‑ were composed in Cöthen in 1720. Although they were among the first of Bach’s works to be published in the 19th century, they didn’t develop much traction in the repertoire before Joachim brought them into the limelight; now, they are central to all violinists' profiles.
Thomas Zehetmair is a performer of
enviable versatility. His first recording of these works was on a modern violin.
Here, in an attempt to get closer to Bach's soundworld, he plays a South
Tyrolean instrument from 1685 in the partitas and a mid‑18th‑century violin by
Eberle in the sonatas and his accompanying note indicates deep engagement with
the internal structure and symmetry of these six works.
These are highly personal
interpretations, and many will warm to them. In general, the Partitas, with
their succession of dances seem to benefit most from Zehetmair’s often impulsive
approach. The Double of the Corrente of the first Partita and the exhilarating
Preludio to the E major Partita are dazzling and the best examples of
Zehetmair’s exciting volatility. On the other hand, the Second Partita’s great
Chaconne manages to be at times captivating, at others uninvolving. The resonant acoustic favours the bigger gestures but often compromises some of the ornamental detail. For those wanting these works on the modern violin, James Ehnes offers more consistent rewards (Analekta) as does Rachel Podger on the Baroque violin (Channel Classics).
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