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Bach - Sonatas and Partitas For Solo Violin (Ibragimova, 2009) [FLAC]

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Description

Music : Classical : Lossless
        

Recording
details: February 2009
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by
Simon Eadon
Release date: October 2009
Total duration: 138 minutes 8 seconds

Cover artwork:
Photograph by Sussie Ahlberg.
 
SUNDAY TIMES CD OF THE WEEK 
GRAMOPHONE EDITOR'S CHOICE
BBC MUSIC
MAGAZINE INSTRUMENTAL CHOICE 
DAILY TELEGRAPH CLASSICAL CD OF THE WEEK
SUNDAY TIMES BEST OF THE YEAR

http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67691/2

Alina Ibragimova’s previous
recordings for Hyperion have been of 20th-century music – impressive accounts of Szymanowski, Roslavets and
Hartmann. Her Bach comes as something of a revelation. The finesse we’ve previously admired in her playing is
here combined with thoughtful stylistic awareness (she’s studied Baroque violin with Adrian Butterfield) and a
distinctive, individual approach. She plays with very little vibrato, often none at all, so that variations in volume
and colour all come from the bow, allowing her to present the musical shapes in a clear yet unemphatic way. She eschews
the usual violinistic attempts, through big tone and heavy emphasis, to underline the grandeur of Bach’s designs;
the Chaconne ends quietly, and the peroration of the Fugue in the Third Sonata, whose exposition returns to round the
movement off, is achieved through a slight broadening of the tempo.

Ibragimova’s playing is uncommonly
neat, with precise fingerwork and relaxed management of the bow; the virtuoso finale of the Third Sonata sparkles
effortlessly while remaining for the most part at a piano dynamic. She plays unequal quavers in the Third
Partita’s Minuet as naturally as if she’d grown up in the 18th century. And finally, all her stylishness
and technical refinement is at the service of an ingrained understanding of the music; she makes us feel where the
points of harmonic tension and emphasis are, and she’s able to do it without distorting the surface of the
music.

Hearing this set, some listeners may miss the more vigorous, forceful character of Christian
Tetzlaff’s recording, or long for the warmer tone and more sustained playing of Julia Fischer. But I hope these
airy, poised, deeply felt performances find wide appreciation.

                                                              

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