# Bach.....Sonatas and partitas for violin...



## Itullian

This has been my favorite for many years.
Are there any other versions that i should
listen to?
Any modern versions?
:tiphat:


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## Barbebleu

Lucy van Daal on Naxos is pretty good. I do like the Milstein too.


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## shadowdancer

Itullian said:


> This has been my favorite for many years.
> Are there any other versions that i should
> listen to?
> Any modern versions?
> :tiphat:


Great sound and artistic quality: Gidon Kremer on ECM
https://www.amazon.com/Bach-Sonatas...=sr_1_3?s=music&ie=UTF8&qid=1535471558&sr=1-3


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## Manxfeeder

Personally, I prefer Milstein's first set. The sound may not be as good as the second, but it seems to speak to me more.


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## Triplets

I have that Milstein set, Perlman, and the outlier is Sergiu Luca, from the seventies, and early HIPP type performance


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## wkasimer

There are plenty of recordings of merit, although Milstein's is one of the classic recordings that has stood the test of time.

I agree with Shadowdancer about Kremer's ECM recording; it has a feeling of spontaneity that is unmatched. Kremer's first recording for Philips is also excellent. I'm also a huge fan of Christian Tetzlaff's recordings - all three of them.

For HIP, Stanley Ritchie and Francois Fernandez are favorites, but there are lots of other excellent choices.


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## philoctetes

Ritchie, Tetzlaff, and Kremer. Podger is ok.


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## Rmathuln

I add Grumiaux to the mix.


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## Manxfeeder

Is anyone familiar with Jaap Schroder? I picked it up at Goodwill and haven't spent much time with it.


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## DarkAngel

Itullian said:


> This has been my favorite for many years.
> Are there any other versions that i should
> listen to?
> *Any modern versions?*




Some great new ones to consider, I like Faust and Ibragimova (student of Tetzlaff) great sound and instrument tone, plenty of style and bravura

















Also the Pine set very nice (all women for some reason) don't let picture fool you, lots of spirit


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## DarkAngel

If you get the Faust solo violin sonatas/partitas it would be a shame to also not get the companion Faust sonatas for violin/keyboard with Bezuidenhout, buy buy....


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## DavidA

Ibragimova is superb. She held the Royal Albert Hall enthralled with her performances at the Proms one year. Here she is


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## realdealblues

I like Milstein and Perlman, but for me Grumiaux is king:


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## Itullian

Any good ones on period instrument?


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## Josquin13

Nathan Milstein's DG set is a favorite of mine as well. (It was the first set I owned on LP.) I prefer it to Milstein's earlier EMI set, which others often like more.

On modern violin, other favorites have included sets by violinists Josef Suk, Uto Ughi (a student of George Enescu, who was likewise remarkable in this music), Oleg Kagan (on Erato & Live Classics), Arthur Grumiaux, & Salvatore Accardo. (I wish Michael Rabin & David Oistrakh had recorded these works in their entirety.)

Ughi: 




Suk: 




Kagan: 




Among recordings on period strings & bows, Stanley Ritchie's set is essential, not only because it represents a lifetime of studying and teaching this music, but also because Ritchie plays on a 1670 Jacob Stainer violin, which was Bach's favorite violin (& Mozart's too); in fact, Stainer's violins were the most sought after violins in Europe until the late 18th century. Not surprisingly, the sound of Ritchie's violin is perfectly suited to this music: so much so that it's hard to believe Bach didn't compose his 1720 Sonatas & Partitas with a Stainer violin in mind (I expect he worked out passages of the Sonatas & Partitas on his Stainer violin, as he composed the music, or at least later commonly played these works on his Stainer).





https://www.amazon.com/Bach-Sonatas...35522691&sr=1-1&keywords=stanley+ritchie+bach

(Stainer violins are rare today: the only other violinist to record the Sonatas & Partitas on a Stainer violin (that I know of) is Jaap Schröder; however, I prefer Ritchie's recording. Kuijken, btw, uses a Milanese violin made by Giovanni Gracino.)

For a contrasting view, I also enjoy listening to period violinist Helene Schmitt, who is on the free side rhythmically--which may not be to all tastes, but I like how she plays Bach (& Schmelzer, Albertini, Carbonelli, Biber, etc.):










Amadine Beyer is very fine too: 




I've yet to get to Rachel Barton Pine, Alina Ibragimova, or any of Christian Tetzlaff three recordings, but hope to at some point. Any consensus on which of Tetzlaff's three sets is best?

On period instruments, I'd be interested to hear Chiara Banchini, Enrico Onofri, Francois Fernandez, Enrico Gatti, Emlyn Ngai, & Elizabeth Blumenstock play this music. But most of all, I'd like to hear Pablo Valetti play the Sonatas & Partitas, as his recording of the Bach Violin Sonatas 1-6 (with harpsichordist Celine Frisch) has become a great favorite of mine:


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## vsm

Perlman's recording is one of my favorites. Interestingly, he alternates the use of a Stradivarius and a Guarneri, and you can actually feel the difference!

https://www.amazon.com/Bach-JS-Complete-Sonatas-Partitas/dp/B0152CBSRY/


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## Rmathuln

realdealblues said:


> I like Milstein and Perlman, but for me Grumiaux is king:
> View attachment 107242


I prefer this to the Duo.










https://www.amazon.com/dp/B00005IB51


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## Rmathuln

For those who like Szeryng (I am one) which recording do you prefer?










OR


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## Itullian

Gonna give the Tetzlaff a try.
The one that was on Virgin Records.


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## DarkAngel

Itullian said:


> Any good ones on period instrument?


Josquin13 mentions several in his post, I have Podger and she plays HIP with gut string instrument, not my very favorite but a nice contrast to the modern instrument Milstein sound....


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## Itullian

^^^^I'm thinking of getting that one.

And the Ritchie too.


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## wkasimer

Itullian said:


> Gonna give the Tetzlaff a try.
> The one that was on Virgin Records.


It was reissued coupled with a fine set of the cello suites played by Ralph Kirshbaum.


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## hpowders

Rachel Barton Pine in an attempt to be HIP (even though playing a violin strung with modern strings), plays much too fast, and to me sounds cold.

Good, warm modern performances besides Milstein/DGG are James Ehnes, Kyung Wha Chung and Midori.

I have some fine HIP recommendations also, but I doubt if the OP wants to go that route.


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## Ras

Rmathuln said:


> For those who like Szeryng (I am one) which recording do you prefer?
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> OR


I rarely listen to *Szeryng's* recordings these days, but I have both. What I remember about them is the intensity in his playing, somewhat similar to Milstein. The first Szeryng recording from *Sony (then Columbia)* has a bit more of this *emotional intensity* than the later recording from *DG.* BUT - there is a big but here - the DG recording has much better sound, so if I should keep just one of them I'd stick with the DG "remake".

( I could say pretty much the exact same thing about *Milstein's* first recording on EMI and his later recording on DG.).


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## Ras

*Hillary Hahn* has finally completed the cycle of Bach Sonatas and Partitas which she started at age 16 on Sony - it was here debut - and a flying start if you ask me - the only thing I didn't like was the Chaconne which was too edgy. Her 3rd Partita is one of my favorites still to this very day. I haven't heard the new one yet - still not on Spotify.















*Gottfried Von der Goltz* who often leads *The Freiburger Barockorchester* (a top Baroque ensemble recording for DHM and Harmonia Mundi) is releasing a complete recording of Bach Sonatas and Partitas.

*My wishes for future recordings* - probably "futile" (meaning wishes that will never come true):
*Period wish: Simon Standage* --- he recorded the Bach concertos twice - first time on DG and later on Chandos and they are both very good.
*Modern instrument wish: Nigel Kennedy* recorded wonderful Baroque cds with the BPO - I'm thinking of his Bach concertos and the remake of Vivaldi's Four Seasons + a Vivaldi II cd that included lesser known Vivaldi concertos. Make sure you avoid his first recording of the Four Seasons - it's terrible.


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## Ras

*Favorite PERIOD recordings*

*My favorite period recordings:*

*- John Holloway on ECM is still one of my favorites.* I'm not sure there is a Holloway-school at all, but: I have my own private Holloway-club among performers who does it "clean" without rough edges and just like heaven:
*- Christine Busch on Phi* sounds similar to me. 
*- Armandine Beyer* is similar to Holloway as well. I listen mostly to Christine Busch these days. 
*- Helene Schmitt* is also good. 
*- Viktoria Mullova* has made a beautiful clean recording on Onyx. Her Chaconne is probably my favorite - She takes a more relaxed approach than most violinists. (I haven't heard her earlier Philips recording from before she went HIP).

*- Sigiswald Kuijken* recorded these works twice for DHM - they are both excellent recordings - Kuijken has a very rough violin sound, probably achieved by using thick gut strings??? Both of his recordings are among my favorites - the 1990 recording is rougher than the 2001

*- Midori Seiler on Berlin Classics* is also very good. Somewhere between the "rough" Kuijken approach and the "clean" Holloway - although maybe more clean than rough... NB!: Midori Seiler should not be confused/mistaken with *the violinist who just calls herself Midori* - the other Midori also recorded these Bach works - very confusing.

- *S. Ritchie is new to me* - I don't know what to think about it yet.

-* C. Tetzlaff *recorded them three times first on *Virgin, then Hanssler and recently on Ondine.* I find the Virgin recording dull, but the other two are excellent.

I'm not sure if 
*- Richard Tognetti* actually plays a period violin but it sounds like heaven!!

I just don't hear what other people hear in 
-* Rachel Podger's Sonatas and partitas* - I like her Bach violin concerto recordings on Channel, but not those solo pieces. (I love her her period recordings of Mozart's violin sonatas too btw.)

*Naxos* has two recordings on period instruments : 
*-Jaap Schroder
-Lucy van Dael *
Both of them very good.

*I will post links and pictures on request *- there are more than fifteen recordings mentioned here - so it would take me all day to post all of it - and nobody gives a hootyfutzy anyway...


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## wkasimer

Ras said:


> *My favorite period recordings:*


Nice survey - thanks. I'm not sure why I'd never heard Christine Busch before, but it's on Spotify, and excellent.

Not a fan of Helene Schmitt's - her rubato is so excessive that the music loses steam. Other than that, I'm pretty much in agreement.


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## Mandryka

Ras said:


> - *S. Ritchie is new to me* - I don't know what to think about it yet.
> 
> ..


He clearly knows what he's doing, though I haven't read his book. But i can't enjoy it, I don't like the sound he makes come out of the violin at all.


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## Guest

Ras said:


> *My favorite period recordings:*
> 
> *- John Holloway on ECM is still one of my favorites.* I'm not sure there is a Holloway-school at all, but: I have my own private Holloway-club among performers who does it "clean" without rough edges and just like heaven:
> *- Christine Busch on Phi* sounds similar to me.
> *- Armandine Beyer* is similar to Holloway as well. I listen mostly to Christine Busch these days.
> *- Helene Schmitt* is also good.
> *- Viktoria Mullova* has made a beautiful clean recording on Onyx. Her Chaconne is probably my favorite - She takes a more relaxed approach than most violinists. (I haven't heard her earlier Philips recording from before she went HIP).
> 
> *- Sigiswald Kuijken* recorded these works twice for DHM - they are both excellent recordings - Kuijken has a very rough violin sound, probably achieved by using thick gut strings??? Both of his recordings are among my favorites - the 1990 recording is rougher than the 2001
> 
> *- Midori Seiler on Berlin Classics* is also very good. Somewhere between the "rough" Kuijken approach and the "clean" Holloway - although maybe more clean than rough... NB!: Midori Seiler should not be confused/mistaken with *the violinist who just calls herself Midori* - the other Midori also recorded these Bach works - very confusing.
> 
> - *S. Ritchie is new to me* - I don't know what to think about it yet.
> 
> -* C. Tetzlaff *recorded them three times first on *Virgin, then Hanssler and recently on Ondine.* I find the Virgin recording dull, but the other two are excellent.
> 
> I'm not sure if
> *- Richard Tognetti* actually plays a period violin but it sounds like heaven!!
> 
> I just don't hear what other people hear in
> -* Rachel Podger's Sonatas and partitas* - I like her Bach violin concerto recordings on Channel, but not those solo pieces. (I love her her period recordings of Mozart's violin sonatas too btw.)
> 
> *Naxos* has two recordings on period instruments :
> *-Jaap Schroder
> -Lucy van Dael *
> Both of them very good.
> 
> *I will post links and pictures on request *- there are more than fifteen recordings mentioned here - so it would take me all day to post all of it - and nobody gives a hootyfutzy anyway...


You didn't mention Hugget or Wallfisch. Don't know them, or don't like them?


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## wkasimer

Mandryka said:


> He (Ritchie) clearly knows what he's doing, though I haven't read his book. But i can't enjoy it, I don't like the sound he makes come out of the violin at all.


I guess I'm a little surprised by this - what don't you like about the sound?

You must really dislike Kremer....


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## tortkis

What do you think of Rudolf Gähler's recording using the curved bow? Each chord is played without splitting notes. The playing is smooth and fluid. I enjoy it, but I also like the stumbling feeling of normal (?) arpeggio-like way of playing, which sounds more dynamic.


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## Mandryka

wkasimer said:


> I guess I'm a little surprised by this - what don't you like about the sound?


It has these plum and chocolate flavours, and although there are sharp lemony overtones there too, the way all these things balance doesn't work for me.

That's it . . . it's to do with the balance of the timbres.

This is dancing on architecture . . . too much!


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## Ras

wkasimer said:


> Nice survey - thanks. I'm not sure why I'd never heard Christine Busch before, but it's on Spotify, and excellent.
> 
> Not a fan of Helene Schmitt's - her rubato is so excessive that the music loses steam. Other than that, I'm pretty much in agreement.


You are welcome!
Good to hear that you are getting into Christine Busch on Spotify, wkasimir.

Christine Busch also recorded BWV 1014-19 - I haven't heard it yet.: http://www.christine-busch.de/listen.html
I think she also plays with Herreweghe's orchestra.


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## Ras

Baron Scarpia said:


> You didn't mention Hugget or Wallfisch. Don't know them, or don't like them?


I have Hugget, but I actually forgot about it - It sounds strange to me - I don't understand it - but it is certainly different from any other recording I've heard.

I don't have Wallfisch, it's not on Spotify - is it worth getting?


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## Ras

tortkis said:


> What do you think of Rudolf Gähler's recording using the curved bow? Each chord is played without splitting notes. The playing is smooth and fluid. I enjoy it, but I also like the stumbling feeling of normal (?) arpeggio-like way of playing, which sounds more dynamic.


I haven't heard Gahler - but thank you for the recommendation - I see it's on Spotify.


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## Ras

*I couldn't find the new recording by Ning Feng from Channel on Spotify, so I had to order the cd:*


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## Kjetil Heggelund

This was a topic some time ago, and always relevant of course! I listened to many different versions on spotify and have Grumieaux and Szeryng on cd (prefer Szeryng!). I tried to find a favorite among the many versions and discovered Ingrid Matthews! My main issue was tempos in bwv 1002 and she made it sound just right for me. Don't think she's been mentioned here.


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## Guest

Ras said:


> I have Hugget, but I actually forgot about it - It sounds strange to me - I don't understand it - but it is certainly different from any other recording I've heard.
> 
> I don't have Wallfisch, it's not on Spotify - is it worth getting?


I have it, but don't recall having listened to it yet.

I like Hugget (only listened to part of it).


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## Ras

*Neglects and regrets*

Baron Scarpia reminded me of Hugget whom I had forgotten.

I also forgot *Pavlo Beznosiuk on Linn and Jacqueline Ross* - 
Beznosiuk is really weird - I don't know if it the way it was recorded or if he really has that rough violin tone - even rougher than Sigiswald Kuijken when he is roughest. 
I haven't heard Jacqueline Ross for a while, but I remember liking it.


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## Heliogabo

Itullian said:


> Any good ones on period instrument?


Kuijken. Some people prefer his first recording (hadn't listened to it) but I enjoy a lot his second one (New harmonia mundi).


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## Itullian

Just ordered this one. Can't wait to get it.
I really enjoy Podgers playing and the recorded sound as well.
Her tempos are on the brisk side but never too fast.
And , I think she finds real poetry in the music.


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## Itullian

I got the Tetzlaff too.
It's good, but it still doesn't compare to the Milstein, imho.


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## Itullian

Next on my list is Ms Faust.


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## jegreenwood

Itullian said:


> I got the Tetzlaff too.
> It's good, but it still doesn't compare to the Milstein, imho.


I heard Tetzlaff play all six live in a marathon concert. I'm afraid to buy any of his recordings as it may ruin my recollection of that afternoon.


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## wkasimer

Itullian said:


> I got the Tetzlaff too.
> It's good, but it still doesn't compare to the Milstein, imho.


Which Tetzlaff?


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## Ras

jegreenwood said:


> I heard Tetzlaff play all six live in a marathon concert. I'm afraid to buy any of his recordings as it may ruin my recollection of that afternoon.


I don't think that *Tetzlaff's Hanssler or Ondine recordings* will ruin memories for you - But as I said earlier I find the Virgin recording less inspiring - not to say: boring...


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## Guest

They are not often mentioned, but I like this set a lot from Fischer. Graceful, beautiful tone, beautifully recorded.


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## Itullian

wkasimer said:


> Which Tetzlaff?


The Virgin one.


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## wkasimer

Itullian said:


> The Virgin one.


It's OK, but probably the least good of his three. You should try to hear the latest Ondine version.


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## Itullian

wkasimer said:


> It's OK, but probably the least good of his three. You should try to hear the latest Ondine version.


It came with the Kirshbaum cello suites, which I love.


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## Itullian

I'm getting this one DA.
It sounds great.
The violin sonatas are very expensive separately.
I'll wait and maybe they'll put them together like this one.
:tiphat:


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## DarkAngel

Itullian said:


> I'm getting this one DA.
> It sounds great.
> The violin sonatas are very expensive separately.
> I'll wait and maybe they'll put them together like this one.
> :tiphat:


Must be careful for Bach violin/keyboard sonatas, the keyboard will be harpsicord and violin can often be too prominent in the mix and drown out keyboard.......recording studio must be aware of this and create a balanced duo of equal scale

Mozart & Beethoven sonatas using violin and piano have more equal sound level and easier to balance out


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## Itullian

DarkAngel said:


> Must be careful for Bach violin/keyboard sonatas, the keyboard will be harpsicord and violin can often be too prominent in the mix and drown out keyboard.......recording studio must be aware of this and create a balanced duo of equal scale
> 
> Mozart & Beethoven sonatas using violin and piano have more equal sound level and easier to balance out


Then are you saying this is a good recording or not?


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## DarkAngel

Itullian said:


> Then are you saying this is a good recording or not?


It is probably the best Bach version I have heard but.......

Every Bach violin/keyboard sonata set I have the harpsicord sounds like a background instrument to the lead violin, it is not so much size or scale of sound but more dominance of violin leading the "conversation" between the two instruments.....Mozart does not have this effect for me


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## premont

DarkAngel said:


> It is probably the best Bach version I have heard but.......
> 
> Every Bach violin/keyboard sonata set I have the harpsicord sounds like a background instrument to the lead violin, it is not so much size or scale of sound but more dominance of violin leading the "conversation" between the two instruments.....Mozart does not have this effect for me


Why not try this:

https://www.prestoclassical.co.uk/c...bach-j-s-six-sonatas-for-violin-and-organ-2cd


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## Josquin13

I've not heard the Faust/Bezuidenhout set, but the balances between the violin & harpsichord on the following two recordings are excellent (and especially on the Valetti/Frisch Alpha set, & I'm not the only one to hold this view--see reviews below):

https://www.allmusic.com/album/joha...à-cembalo-certato-è-violino-solo-mw0001843436
http://www.biberfan.org/reviews/2011/02/16/bach-sonatas-for-violin-harpsichord
https://www.classicstoday.com/review/review-11714/

https://www.amazon.com/Bach-Sonatas...&sr=1-1&keywords=bach+violin+sonatas+watchorn

They are also two of the finest recordings of these works in the catalogue, in my opinion. Pablo Valetti is underrated among period violinists, in my view, and so is Emlyn Ngai.


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## Mandryka

premont said:


> Why not try this:
> 
> https://www.prestoclassical.co.uk/c...bach-j-s-six-sonatas-for-violin-and-organ-2cd


It's a shame in that recording they didn't have a go at 1019, they do 1019a instead. Nordstoga and Lotsberg do 1019.


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## premont

Mandryka said:


> It's a shame in that recording they didn't have a go at 1019, they do 1019a instead. Nordstoga and Lotsberg do 1019.


Yes, a shame. Maybe Gester thinks that the central cembalo solo of 1019 isn't suited for the organ.


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## Mandryka

premont said:


> Yes, a shame. Maybe Gester thinks that the central cembalo solo of 1019 isn't suited for the organ.


I'd be interested to know if there are any aspects of the solo movement of 1019 which you think fit harpsichord better than organ.

I think that 1019a works really well on organ. Having said that Guido de Neve and Frank Agsteribbe recorded the cantabile movement with a harpsichord and I think it sounds interesting, though I'm sure the keyboard part is less cantabile.

And I like Nordstega's performance of the solo movement of 1019 too! (I much prefer Pierot to Lotsberg though!)


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## premont

Mandryka said:


> I'd be interested to know if there are any aspects of the solo movement of 1019 which you think fit harpsichord better than organ.


The piece has an energetic but also somewhat abstract style in contrast to the rest of the sonata's concertante character. I am not generally a great fan of gapping registrations, but with a suitable light registration e.g. flute 8' , octave 2' I think it may be served well on organ.


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## Itullian

I finally found a recording I am enjoying as much as the Milstein.
Podger has captivated me.


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## Itullian

Been listening a lot more to the Tetzlaff on Virgin Classics and 
liking it quite a lot.


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## DarkAngel

Itullian said:


> Been listening a lot more to the Tetzlaff on Virgin Classics and
> liking it quite a lot.


Me too but I got the newer Tetzlaff Ondine label version......

Also this thread got me into new Gidon Kremer version, love his more flamboyant personal style, perhaps more Kremer than Bach but me like.......ha ha


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## Itullian




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## Ras

Those who like Holloway, Mullova on Onyx, Armandine Beyer, Tognetti, Christine Busch and other period recordings with a "clean" sound I recommend going to www.spotify.com to hear *Gottfried von der Goltz's * brand new recording:






Available on cd from amazon.com in October:
https://www.amazon.com/Bach-Partita...TF8&qid=1537353219&sr=8-8&keywords=goltz+bach


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## Ras

Itullian said:


>


Thank you for the good news, Itullian! I'm looking forward to hear Carmignola!!


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## DFlat

About 20 years ago, after listening to a number of more highly acclaimed recordings, I ended up buying Sandor Vegh on Auvidis from 1971. The acoustic is pretty dry, and he sounds very closely mic’d. So there’s an immediacy and detail to the sound that pulls me in. There’s also an intimacy. Almost like you were standing in a violin shop when Sandor Vegh walks in, is handed a Strad to try, and begins playing 3 feet away. His playing is nuanced and he produces many varied colors. He goes from whisper quiet to almost violently attacking the strings in a way that can create an almost ugly sound. Out of curiosity I just did an internet search for reviews. Classics Today disliked it. And Gramophone truly hated it. Mainly his technique and intonation. Personally, I find there’s something about his phrasing and musical approach in general that’s very involving. It’s like he’s having a conversation with himself. And talking to me, the listener, at the same time. I haven’t heard that many recordings of it, and while he doesn’t have the polish of those other players, none of those other performances affects me emotionally like he does. Love it or hate it, he isn’t at all mechanical. Just my opinion.


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## Mandryka

Ras said:


> Those who like Holloway, Mullova on Onyx, Armandine Beyer, Tognetti, Christine Busch and other period recordings with a "clean" sound I recommend going to www.spotify.com to hear *Gottfried von der Goltz's * brand new recording:
> 
> 
> 
> 
> 
> 
> Available on cd from amazon.com in October:
> https://www.amazon.com/Bach-Partita...TF8&qid=1537353219&sr=8-8&keywords=goltz+bach


I think this is worth hearing,


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## Guest

Itullian said:


>


That might be a HIP recording that is worth getting!


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## Over the Rainbow

Itullian said:


> I finally found a recording I am enjoying as much as the Milstein.
> Podger has captivated me.


+1
The same for me Milstein & Podger


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## Jokke

Amandine Beyer :clap:


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## JEdwards

*Beyond the recommendations ...*

Slight tangent: I love Bach. All Bach. Almost. BUT NOT the sonatas & partitas for violin. I can't get into them. If you used to be like me, but ENJOY THEM TODAY, please share how you came around to them. Is it an acquired taste? I'd love to love them. Thanks!


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## jegreenwood

JEdwards said:


> Slight tangent: I love Bach. All Bach. Almost. BUT NOT the sonatas & partitas for violin. I can't get into them. If you used to be like me, but ENJOY THEM TODAY, please share how you came around to them. Is it an acquired taste? I'd love to love them. Thanks!


Is it the sound of a solo violin that bothers you? If so (actually in any event) which recordings have you listened to?


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## Bogdan

JEdwards said:


> Slight tangent: I love Bach. All Bach. Almost. BUT NOT the sonatas & partitas for violin. I can't get into them. If you used to be like me, but ENJOY THEM TODAY, please share how you came around to them. Is it an acquired taste? I'd love to love them. Thanks!


Try this one:


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## Allegro Con Brio

JEdwards said:


> Slight tangent: I love Bach. All Bach. Almost. BUT NOT the sonatas & partitas for violin. I can't get into them. If you used to be like me, but ENJOY THEM TODAY, please share how you came around to them. Is it an acquired taste? I'd love to love them. Thanks!


I normally don't care much for the sound of the solo violin, but these are IMO the greatest non-keyboard solo works ever composed, even greater than the Cello Suites. The bottomless invention of the C major fugue and D minor chaconne, the jaw-dropping improvisatory chromaticism of the Preludes, the tragedy and sunshine mixed effortlessly throughout, is simply mesmerizing. There are so many great performance approaches, but if I had to single out one that impresses me most it just might be James Ehnes. This is a real "dark horse" but I find his playing to be rich, soulful, and well-paced with a masterly treatment of the implied voices. Perlman, Grumiaux, Kremer, and Hahn are some other current favorites. I generally like them to be played at moderate tempi, with a smooth rich tone and an eye to the tender songful side of the music. I find the famous Milstein, for example, to be too assertive and "muscular" to fully capture the poetry.


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## Geoff48

Okay it a very old recording but I think that the Menuhin recorded in the thirties takes some beating. He is technically on top of the work and he plays with the enthusiasm of youth. But beware his stereo remake. It was recorded at a time when Menuhin was having major problems with his technique and it sounds as if he is having to concentrate on playing it correctly rather than on the music as in the thirties.
For a more modern version I like Perlman with his glorious full bodied tone.


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## JEdwards

jegreenwood said:


> Is it the sound of a solo violin that bothers you? If so (actually in any event) which recordings have you listened to?


Bingo! It never occurred to me that it might be the sound of a solo violin itself. I listened again to selections from some recordings that I'd listened to before (Milstein, Podger, etc.). Then I listened to selections from other recommendations here (Szigeti, Ehnes, Kremer, Hahn, Fischer, etc.). It turns out that it's the sound of the solo violin itself in combination with a certain "aggressive" style of playing. I couldn't get beyond the harshness of attack to hear the music. Nice work on the diagnosis! Thanks for your reply!


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## JEdwards

Bogdan said:


> Try this one:
> 
> Szigeti is new to me. I took your suggestion, and I enjoyed him very much. Thanks! To return the favor, in case you might be interested: I ran across this collection on amazon. "Joseph Szigeti: Milestones of a Violin Legend, 10cds for $23+. https://www.amazon.com/Milestones-Violin-Legend-10-Cd/dp/B079V92FC6/ref=sr_1_1? Thanks again!


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## Ras

JEdwards said:


> Bingo! It never occurred to me that it might be the sound of a solo violin itself. I listened again to selections from some recordings that I'd listened to before (Milstein, Podger, etc.). Then I listened to selections from other recommendations here (Szigeti, Ehnes, Kremer, Hahn, Fischer, etc.). It turns out that it's the sound of the solo violin itself in combination with a certain "aggressive" style of playing. I couldn't get beyond the harshness of attack to hear the music. Nice work on the diagnosis! Thanks for your reply!


The most gentle recording I have heard is Viktoria Mullova's Onyx recording (not her earlier Philips recording)!!!:








My own personal favorite recording is also in the "gentle and clean" style: Christine Busch on Phi:








Try those - if you still don't like them then try Bach's own lute arrangement of BWV 1006 included on these recordings: 
on lute Paul O'dette:








on guitar G. Söllscher:


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## Lordgeous

I have the Heifitz (on vinyl) which I haven't listened to for years but I've been extremely impressed by Hilary Hahn.


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## DavidA

Alina Ibraginova held the Albert Hall spellbound when she played them and gives a great interpretation on disc too!


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## jegreenwood

Ras said:


> The most gentle recording I have heard is Viktoria Mullova's Onyx recording (not her earlier Philips recording)!!!:
> View attachment 144435
> 
> 
> My own personal favorite recording is also in the "gentle and clean" style: Christine Busch on Phi:
> View attachment 144436
> 
> 
> Try those - if you still don't like them then try Bach's own lute arrangement of BWV 1006 included on these recordings:
> on lute Paul O'dette:
> View attachment 144437
> 
> 
> on guitar G. Söllscher:
> View attachment 144438


I really like the Sollscher. He's actually recorded all of Bach's music/transcriptions for lute, plus some of his own transcriptions. I'm not sure how much else is in print.

Additionally, a number of guitarists and lutenists have transcribed the rest of them. Paul Galbraith and Hopkinson Smith are my favorites.

But I'm glad JEdwards found a violin recording that works for him/her. The guitar/lute versions are wonderful complements, but they are not substitutes.


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## JEdwards

Allegro Con Brio said:


> ... I generally like them to be played at moderate tempi, with a smooth rich tone and an eye to the tender songful side of the music. ...


Yes! Here's what I'm taking away from your post.

(1) Don't give up. Bach's works for solo violin are worth it. 
(2) Change your search strategy. It may have less to do with sampling popular v. obscure artists, HIP v. traditional practice, and period v. modern instruments, and more to do with the style/approach of the individual artist. 
(3) Ask someone who knows.

Thank you for your thoughtful, generous reply, including the variety of recommendations. I'm enjoying listening through all of them.


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## realdealblues

JEdwards said:


> Yes! Here's what I'm taking away from your post.
> 
> (1) Don't give up. Bach's works for solo violin are worth it.
> (2) Change your search strategy. It may have less to do with sampling popular v. obscure artists, HIP v. traditional practice, and period v. modern instruments, and more to do with the style/approach of the individual artist.
> (3) Ask someone who knows.
> 
> Thank you for your thoughtful, generous reply, including the variety of recommendations. I'm enjoying listening through all of them.


For me it's all about the approach of the individual violinist (maybe a little about their tone as well). Could care less if it's a modern violin or a Stradivarius. I'm not looking for someone to play them as fast as possible like it's an exercise in technique, nor am I looking for someone to play them slow as possible and drain ever ounce of romantic feeling from every single note. Just like Bach's Cello Suites, I like them to have a certain inner rhythm or pulse.

Partita No. 3 is probably my favorite so when I listen to new recordings I often start there to hear how they handle it. My favorites right now are probably Grumiaux, Perlman and Faust, although I just heard Hilary Hahn's version yesterday for the first time and thought it was wonderful. All of them have different styles, tempos, phrasings, etc. but they all work for me because they all seem to have a certain inner pulse that courses through each movement of the work and makes it sound cohesive (at least to me).


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## SanAntone

No ranking here, just the order how they appear in my playlist of these works.

Julia Fischer
Arthur Grumiaux
Isabelle Faust
Itzhak Perlman
Monica Huggett
Gidon Kremer
Viktoria Mullova
Jojhn Holloway
Thomas Zehetmair
James Ehnes
Christine Busch
Boris Begelman
Christian Tezlaff (most recent)
Lara St. John
Hélène Schmitt
James Stern
Gunar Letzbor
François Fernandez
Guilano Carmingola

The _Sei Soli Violino_ violin along with the _Six Cello Suites_ are among my favorite Bach.


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## realdealblues

SanAntone said:


> No ranking here, just the order how they appear in my playlist of these works.
> 
> Julia Fischer
> Arthur Grumeaux
> Isabelle Faust
> Itzhak Perlman
> Monica Huggett
> Gidon Kremer
> Viktoria Mullova
> Jojhn Holloway
> Thomas Zehetmair
> James Ehnes
> Christine Busch
> Boris Begelman
> Christian Tezlaff (most recent)
> Lara St. John
> Hélène Schmitt
> James Stern
> Gunar Letzbor
> François Fernandez
> Guilano Carmingola
> 
> The _Sei Soli Violino_ violin along with the _Six Cello Suites_ are among my favorite Bach.


Nice list. In addition to the Grumiaux, Perlman, Faust and Hahn I have on CD, I also have the Zehetmair and the Carmignola on disc. I like the Zehetmair but I was really disappointed with Carmignola. After hearing his revolutionary Four Seasons recording I expected him to really do something extraordinary with the Bach Sonatas and Partitas but I found it everything but and terribly bland. But anyway, there are several on that list I would like to purchase one day.


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## JEdwards

realdealblues said:


> For me it's all about the approach of the individual violinist (maybe a little about their tone as well). Could care less if it's a modern violin or a Stradivarius. I'm not looking for someone to play them as fast as possible like it's an exercise in technique, nor am I looking for someone to play them slow as possible and drain ever ounce of romantic feeling from every single note. Just like Bach's Cello Suites, I like them to have a certain inner rhythm or pulse.
> 
> Partita No. 3 is probably my favorite so when I listen to new recordings I often start there to hear how they handle it. My favorites right now are probably Grumiaux, Perlman and Faust, although I just heard Hilary Hahn's version yesterday for the first time and thought it was wonderful. All of them have different styles, tempos, phrasings, etc. but they all work for me because they all seem to have a certain inner pulse that courses through each movement of the work and makes it sound cohesive (at least to me).


"The approach of the individual violinist." That's it, isn't it? Thanks!


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## EvaBaron

So it seems Milstein on DG is a first choice, but for some reason I gravitate towards Perlman. He plays them very romantically and for some reason that would be a downside but his interpretation is just so beautiful that I can’t help but listen to them. Normally I don’t ever listen to perlman but this he really nails


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## Josquin13

I see that I've already posted my list of favorites earlier on this thread several years ago. To reiterate, they are (1) Josef Suk on EMI (analogue), who tends to get overlooked, but his Bach interpretations have as much depth & musical insight as anyone's, in my view: 



, (2) Uto Ughi on RCA (digital)--the same is true for Ughi, and (3) Nathan Milstein's 2nd set on DG (analogue), among those violinists playing on a modern bow & strings; along with a handful of others, such as Oleg Kagan (live, on Erato & Live Classics), Salvatore Accardo on Philips, Gidon Kremer on Philips, Arthur Grumiaux on Philips, & a violinist that Glenn Gould raved about towards the end of his life, Jean-Jacques Kantorow, on Denon. I've also recently been happily returning to a set by I Musici's lead violinist, Felix Ayo, on Philips, after many years away from it, & am enjoying Ayo's more romantically inclined but perceptive playing immensely, as well as the first class sound recording that Philips gave him:






While on a period bow & strings, I've liked Stanley Ritchie, who performs on the same make of violin that Bach himself owned--a 1670 Jacob Steiner violin (essential listening); as well as a terrific recent set from Gottfried von der Goltz; along with sets by Amandine Beyer, Helene Schmitt, François Fernandez, Sigiswald Kuijken, & several others. 

However, since my previous post, I've come across two violinists whose Bach playing I've come to very much admire, as well: The first is the young Icelandic violinist, Elfa Rún Kristinsdóttir, who, not surprisingly--once you've heard her playing!--was a first prize winner at the Leipzig Bach competition. She plays on a period bow & strings. The second is Dmitri Sitkovetsky, who has recorded the 6 Sonatas & Partitas twice on a modern instrument: The first set was for Hanssler, and the second for Orfeo.

I've not heard Sitkovetsky's earlier cycle, but it gets glowing reviews. Some critics have even preferred it to his later Orfeo cycle. However, I did like his 2nd cycle very much, & the performances are well recorded by Orfeo, a label that I've found to be consistently excellent in this regard. Which is important I think, since you've got to like the sound of the violin being played in order to be able to listen to these works all the way through (as I can usually just manage one or two sonatas or partitas at time, as it is). So, I'd place Sitkovetsky right up there among my favorite violinists playing on a modern instrument, that is, alongside Suk, Ughi, Milstein, Accardo, Kagan, Ayo, etc.





 
In regards to Kristinsdóttir, her cycle is only partial so far, as she's recorded only the three Partitas to date, on one CD. I hope she'll record the remaining three Sonatas in order to complete her cycle, since I find her interpretations fascinating, & very engaging musically. When & if Kristinsdóttir does complete her cycle, I wouldn't be surprised if it ends up becoming my favorite period set. Although I'm still hoping that Pablo Valetti will record a complete set, since his recording of Bach's 6 Violin Sonatas with harpsichordist Celine Frisch (on Alpha) has become a great favorite of mine (along with Emlyn Ngai's recording, with harpsichordist Peter Watchorn).






Here too is Kristinsdóttir playing the Partita No. 2 live in concert: 





So, both these violinists get a big thumbs up from me. 

By the way, if anyone listens to Kristindóttir's disc & ends up liking her playing, you'll definitely want to check out her excellent Ars Produktion recording of two of Bach's harpsichord concertos played as violin concertos, coupled with his Double Concerto (for two violins), accompanied by the fantastic period group, Solistenensemble Kaleidoskop. I'd strongly recommend this recording. Granted, her tempi can, at times, be on the quick side, but the HIP interpretations work brilliantly, IMO, & the hybrid SACD recording is of an audiophile standard, which is always a plus with such good performances:

Violin Concerto in D Minor, BWV 1052: I. Allegro


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## hoodjem

Itullian said:


> This has been my favorite for many years.
> Are there any other versions that i should
> listen to?
> Any modern versions?
> :tiphat:


I have that set on LP and on CD. Wonderful playing!

I remember reading a review years ago that lauded its "patrician" excellence.
That word seems exactly right.


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## Wigmar

Itullian said:


> This has been my favorite for many years.
> Are there any other versions that i should
> listen to?
> Any modern versions?
> :tiphat:


This is my favourite, too. Occasionally, I listen to Heifetz (1952), though I like this one better.


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## Itullian

Wigmar said:


> This is my favourite, too. Occasionally, I listen to Heifetz (1952), though I like this one better.


For a modern set, try Rachel Podger on Channel Classics. It's a great set.


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