Bach Sonatas Partitas Enes

Tenenbaum is a very ardent musician whose Bach is irresistibly expressive, overwhelmingly passionate, and unreservedly loving. Tenenbaum has known the Sonatas & Partitas since she was a child and her interpretations are the results of her long and profound intimacy with the music. As in a great marriage, Tenenbaum knows everything there is to know about the Sonatas & Partitas and she knows the music has depths that reveal themselves only when the player surrenders to them.

Since the mid-1980s, Frank Peter Zimmermann has earned recognition as one of the leading violinists, admired not only for his technical skill and interpretive intelligence, but also for his versatility in a wide-ranging repertoire. His extensive discography spans from Bach concertos and Beethoven sonatas to works by composers such as Ligeti, Magnus Lindberg and Brett Dean. But during the four decades that Zimmermann has been making recordings, he has never previously recorded Bach’s Sei solo, the six sonatas and partitas for solo violin which form an absolute pinnacle in the repertoire for the instrument.

“Recording Bach’s complete Six Sonatas and Partitas has long been a dream of mine,” says Augustin Hadelich “They are formidable tests of technical ability and stamina, but also of musical imagination and expressive range – they never cease to provide challenges, hope, and joy.” For his interpretation, sensitive to historical practice, Hadelich chose to use a baroque bow. “It was a revelation,” he says. “It felt liberating… Passages of three- and four-note chords felt more fluid .. The dance movements danced more and the slow movements sang more.”

‘One does not create by adding, but by subtracting’, said the film director Robert Bresson, quoted by Jacques Drillon in the booklet that accompanies this new recording of Bach’s Sonatas and Partitas for solo violin by Tedi Papavrami, seventeen years after a first version that already made quite an impact on the discography. Tedi Papavrami decided to start working on them again when he was in lockdown, and these pieces – which, in truth, he had never stopped playing – gave him new sensations: ‘something more alive, more sparkling appeared to me’…