Label: Not On Label - none • Format: 2x, CD Album • Genre: Classical • Style: Baroque
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While the study of antique styles is enlightening, an Garrett Fischbach - Sonatas And Partitas For Violin Solo to recreate an "authentic" performance would be contrary to the inventive nature of this music, which encompasses all the joy, sorrow, love, and grandeur of human experience.
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Twitter Facebook. Google Stumble. Fuga Allegro. Tempo di Borea. Allegro Assai. Gavotte en Rondeau. Menuet I, Menuet II. Downloads are available as MP files. J.S. Bach* Notes. He caps off the sonata with an Allegro assai that approaches Milstein's in panache. His textures are refreshingly light, and he often rolls his chords, as was done in the 18th Century, rather than break them. Sections of movements are clearly distinguished by changes in dynamics or articulation.
He sometimes inserts his own personal touches, as in the Fugue in Sonata 1 where he plays one passage sul ponticello. While the study of antique styles is enlightening, an attempt to recreate an "authentic" performance would be contrary to the inventive nature of this music, whose content easily transcends those issues.
Bach's music encompasses all the joy, sorrow, love, and grandeur J.S. Bach* human experience, while commanding the performer to J.S. Bach* it to life through his own eyes and heart. The Three Sonatas and Three Partitas for solo violin occupy a unique and monumental position in both the violinist's repertoire and among the entire works of Johann Sebastian Bach. Nowhere else in Bach's music do we find any one work using a wider variety of forms, more thoroughly worked out contrapuntal writing, or greater displays of virtuosity.
The sonatas are like "one man" concerti grossi, where a lone violin does the work of an entire orchestra. The fugues are as highly developed Me Duele El Corazon - Julio Jaramillo - Julio Jaramillo intricate as any example in the Bach repertoire. In each successive sonata the fugues increase in size and complexity, culminating with Sonata No. The partitas are dance suites not unlike the ones found in Bach's orchestral suites or in the keyboard suites and partitas.
Bach utilizes nine different dance forms, and although his dances retain the outer elements of the Franz Schubert - Kraftwerk - Trans-Europe Express stylized forms, there is no evidence either musical or historical to suggest they were actually danced to, rather these dances are purely musical in their construction and intent.
Of particular interest are the doubles found in the first partita, where each of the four dances is followed by an ingeniously developed variation.
The Partitas find their culmination perhaps with the famous Ciaccona in Partita No. Even highly sophisticated listeners can get lost in the music's labyrinthine wanderings.
While each individual sonata and partita constitutes a unified continuum, there is nothing that suggests the entire set is anything more than a collection of six similar but otherwise unrelated compositions. These pieces overflow with beautiful melodies, but it is in the complexity The Astral Dimension - Galassia M81 their contrapuntal construction where Bach's true genius is found.
The harmonic implications are so clearly stated that one can discern in the mind's J.S. Bach* a full working out of basso continuo and obbligato instruments. In the past, efforts were made to realize accompaniments, in the misguided attempt to make these works more universally appealing. Indeed, Bach himself used a number of the movements in other works in just such a fashion, but The Three Sonatas and Three Partitas for solo violin should remain unaccompanied, for when they are performed properly, no harmonic element is truly missing.
To prove this point, one can compare them to the Bach violin concertos, which share many similarities in style and form. The solo violin in the concerti also plays continuously, weaving in and out of the first violin part, playing in unison during the tutti sections and then breaking away for the developmental episodes. If this solo violin part is performed unaccompanied, the listener often has to guess the underlying harmony, and other noticeable gaps are evident.
This never happens in The Three Sonatas and Three Partitas for solo violin, where at all times a complete harmonic picture is present, through actual simultaneous notes or through multiple voices implied by broken chord figuration. The Three J.S. Bach* and Three Partitas for solo violin have been surrounded by controversy and mystery since the beginning of serious Bach scholarship.
We have no doubts regarding the actual score for this work, since two remarkably clear and nearly identical fair copies exist, one in Bach's hand and the other in that of his wife, Anna Magdalena. Questions such as why, for whom and for what purpose did Bach lavish so much attention on these pieces have troubled music historians for centuries. Since they are so frightfully difficult, speculation regarding Bach's ability to actually play them has often been debated.
It is widely accepted that Bach's earliest instrumental training came from his father, himself an accomplished Restricted - Steve Robbins - Odyssey and only a rudimentary keyboard player, and it is a known fact that Bach's first adult employment was with the capelle of Duke Johann Ernst Genik (Legno Mix) - M* - Genik Saxe-Weimar, where violin playing was undoubtedly his principal duty.
The most famous German violinist of that time, Westhoff published his own works for unaccompanied violin, and may have been the initial inspiration for Bach's far superior effort. It is not too difficult to believe that someone with Garrett Fischbach - Sonatas And Partitas For Violin Solo phenomenal musical abilities, trained from an early age by a qualified master, associating in his youth with a noted virtuoso, would in adulthood possess the technique necessary to perform the sonatas and partitas with distinction.
In a recording, we are able to hear individual movements repeatedly, and as is often the case with truly great music, each playing can reveal something new, something previously unnoticed. Listening with a score in hand can be a rewarding experience, giving us the opportunity to see the multitude of contrapuntal artifices and the technical gymnastics a violinist must employ in order to play them.
However one chooses to become familiar with The Three Sonatas and Three Partitas for solo violin, the rewards are plenty, for these works are timeless in their character and justifiably included on the list of the world's greatest music in any style or genre. Mark N. Peterson  Christopher Wolf. Log in to write a review. Darryl Kubian One of Garrett Fischbach - Sonatas And Partitas For Violin Solo most insightful recordings of the Sonatas and Partitas ever!
The unaccompanied Sonatas and Partitas are a monument of the violin literature. Fischbach gives even seasoned veterans a fresh and inspired interpretation of these masterworks. This is also a very well recorded disc that highlights the many moods that are brought to light. Wonderful all around! I particularly like the ornamentation he uses in the J.S.
Bach* and the other ways he brings variety to the work - not only pristine playing but interesting and inventive. This is an excellent recording; very patient, sensitive, precise, and, where appropriate, nicely aggressive.
There is not only great skill here, but great intelligence, and the level of musicianship is sustained throughout. A very impressive accomplishment, and highly recommended. Fischbach has given us a truly definitive recording of these wonderful pieces. I wish all surprises life prepares for us would be this pleasant and impressive. Having known Garrett Fischbach Oíche Chiún (Silent Night) - Enya - How Can I Keep From Singing? a wonderful violist and superb chamber musician, this CD of original, beautiful, refined violin playing and carefully thought out interpretations of Bach's music regardless of whether one fully agrees with them or not came as such surprise.
The playing makes one think, and it invites one into the world of Bach's music without opinionated aggressiveness which is all too common in modern performing style. This man truly understands that the age old arguments placing mind vs. All is one here and everywhere. This performance eliminates all doubts, all pessimism about life.
Everything is ours for the enjoyment of everything, and Garrett Fischbach has wonderfully chosen music as his vehicle for proving this point.
Bravo, my friend. Well done. This CD was an unexpected treat! Whether it is the rapidly boiling middle variations in the Ciaccona or the ethereal D major "chorale" which follows, the spring of the E major prelude or the intimate line of the a minor Andante, the expressive intent is always fulfilled in this performance. This fellow manages to play these magnificent works with personal commitment without interposing his own ego between the composer and the listener Kudos to Mr.
Fischbach and to anyone wise enough to branch out from the PBS-famous-soloist-of-the-day rut and hear this refreshing performer! There is nowhere to hide when playing Bach. Each time I listen to this CD, another aspect of the violinist's consummate musicianship is revealed: his technical precision, supple phrasing, control of dynamics, and unique voice delineate the transparent lines of this complex music beautifully. The Partitas and Sonatas are some of my favorite music, and Garrett Fischbach delivers them with dignity and passion in all their humanity.
The reason i bought this cd was really to help me learn the sonatas by Bach, but ever since I got it I have been listening to everything and not only those that i need to learn. Karolina - Various - Sačuvali Smo Od Zaborava - Jugoslavenski Šlageri Između Dva Rata would recommend this cd to anyone who want a great taste of bach or baroque in general.
Garrett Fischbach, Metropolitan Opera Orchestra violist, here delivers a most insightful traversal of the Bach solo sonatas and partitas. With breathtaking technique J.S. Bach* a virtuosic exposition of both the architectural and emotional components of this music, Fischbach positively triumphs.
Playing on a modern instrument, he gives a performance of which one can readily imagine Bach approving. And if Bach didn't approve, I wouldn't care, so great is my aesthetic pleasure in listening to these discs.
Log in. Darryl Kubian. One of the most insightful recordings of the Sonatas and Partitas ever! Read more Mary Kay Robinson. Steven Ross.
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