Bwv 1001 1006

The Violin Sonatas and Partitas manuscript, which has fortunately survived, is dated 1720. The first page of the autograph carries the note “Libro Primo”; Bach’s Cello Suites BWV 1007-1012 may have been regarded as the “Libro Secondo”. A dedicatee is not known. Johann Sebastian Bach composed his Violin Sonatas and Partitas/ when he was employed as Kapellmeister in Köthen (1717-1723) and probably completed the cycle in 1720. There is hardly any other work in the entire violin literature with such significance. Bach set new standards in playing and composition; these works have lost none of their topicality and brilliance to this day.

Bachs Sonaten und Partiten für Violine solo umfassen sechs Werke für das Instrument ohne jede Begleitung. Der mexikanische Geiger und Komponist polnischer Abstammung, Henryk Szernyg, spielte den Zyklus gleich zweimal ein. Seine Aufnahme aus dem Jahr 1967 entstand im Théâtre Municipal in Vevey (Schweiz) unter Tonmeister Vittorio Negri. Szeryng schafft es, die Musik für sich selbst sprechen zu lassen und ihr gleichzeitig seine eigene Note zu geben.

Celebrated Baroque violinist Pavlo Beznosiuk gives a seemingly effortless performance of one of the most technically and intellectually challenging works in the solo violin repertory. Drawing on his wealth of knowledge and virtuosic prowess, Beznosiuk gives an intimate and thoughtful reading full of passion and vitality that is highly attuned to J. S. Bach's intentions.

Celebrated Baroque violinist Pavlo Beznosiuk gives a seemingly effortless performance of one of the most technically and intellectually challenging works in the solo violin repertory. Drawing on his wealth of knowledge and virtuosic prowess, Beznosiuk gives an intimate and thoughtful reading full of passion and vitality that is highly attuned to J. S. Bach's intentions.

Hailed as an “epic traversal of solo violin repertoire” and a “monumental achievement” (Chicago Tribune), American violinist Jennifer Koh’s complete Bach & Beyond recordings, pairing J.S. Bach’s violin sonatas and partitas with 20th- and 21st-century works inspired by Bach’s groundbreaking masterpieces, are now available in a convenient, economical boxed set offering all three albums for the price of two. AllMusic said, “Koh’s series is highly recommended to those in search of an experience that will reward repeated hearings.” Audiophile Audition called it a “remarkable three-disc effort, recommended to all with a good degree of urgency.”

Vécu immédiat, intime, par moment viscéralement douloureux, Bach nous offre l’expérience universelle d’une humanité fabuleusement imparfaite et sincère. « La dimension religieuse de l’oeuvre musicale de Bach est toujours évoquée, moins la dimension profondément humaine de son écriture. Les Sonates et Partitas pour violon seul requièrent une compréhension détaillée de l’harmonie et du contrepoint, mais aussi de la signification émotionnelle de telle ou telle dissonance, chromatisme, ou balance rythmique.

The Hungarian violinist Johanna Martzy was born in Temesvár, then in Hungary, today in Romania, on October 26, 1924, and was hailed as a wunderkind.

Thomas Zehetmair has fashioned a highly successful and broadly eclectic career. He is a virtuoso violinist of international repute, a chamber player who has founded a critically acclaimed quartet, a conductor of front-rank status, and a musician whose repertory in any role reaches from Baroque-era fare to the contemporary. As of the mid-2020s, Zehetmair held the conductorships of the Stuttgart Chamber Orchestra, the Orchestre National d'Auvergne-Rhône-Alpes, and the Irish Chamber Orchestra. He also holds the title of conductor laureate of the Royal Northern Sinfonia. Zehetmair was born in Salzburg, Austria, on November 23, 1961. He began violin lessons at five with his parents, both talented violinists. His advanced studies were at the Salzburg Mozarteum under his father, Helmut. He took further instruction on the violin from Nathan Milstein and Max Rostal.

Johann Sebastian Bach‘s Sei Solo for unaccompanied violin figure amongst the baroque works on which the performance traditions of the 19th and 20th centuries weigh most heavily. Rediscovered halfway through the 19th century after having been forgotten for more than a century, these works quickly entered the repertoire of works performed by violinists during the Romantic period. Enrico Onofri’s (long-time concert director of the ensemble Il Giardino Armonico) interpretation inspires listeners with unbelievable detail in terms of embellishments and dynamics.