Kremer

For collectors of recordings by Latvian violinist Gidon Kremer, this 10-disc set called Historical Russian Archives will be just the thing to fill the stray gaps in his discography. Recorded between 1967 and 1992, the sound here ranges from the acceptable to the outstanding, and featuring works from Bach's Chaconne to Salmanov's Second Violin Sonata, the repertoire ranges from the extremely well known to the almost unknown…

Gidon Kremer's technical brilliance, inward but passionate playing, and commitment to both new works and new interpretations of old works have made him one of the most respected violinists in the world today.

These pieces are remembrances of some Gidon Kremer’s passings in Prague, during Soviet time… Kremer was then at the dawn of his career, one among the most brilliant for a violinist in our time! As an ‘ambassador’ of the Soviet Ministry for Culture in the ‘brother countries’, he owed to his mentor, David Oistrakh, a sort of freedom, demonstrated here in this recording. His absolutely perfect touch and his freedom of expression were the delight of his patrons in the welcoming communist countries… The short piece by Alfred Schnittke, then still hand written only, was an example of his wish to play scores out of the ‘classics’ from Bach to Stravinsky and to help other musicians through chamber music sessions. This record allows to hear the faked G.B. Guadagnini inherited from his grandfather.

Gidon Kremer has again recorded the Sonatas and Partitas for Solo Violin of Bach and while his facility and technical grace are intact, in this recording he appears to have been deeply influenced by his time with the moderns (Adams, Pärt, Schnittke, Piazzola, Glass, et al). For this listener it seems that studying and performing these contemporary composers' manipulation of sound and instrumental scope has enriched Kremer's thought about the perfection of Bach. Not everyone will agree with Kremer's approach to these works on this new recording, but for those who know Bach's solo violin pieces there are pleasures in store. Remaining technically suave and with a luxuriant tone, Kremer seems to be communicating with the psychological Bach, offering different tempi and more soulful approaches than those of his colleagues. The results are mesmerizing. Highly recommended.

Beethoven’s ten violin sonatas span the period from 1797-1812, and the G major work ending the series (which he evidently revised prior to its publication in 1816) came as long after the Kreutzer as the difference in opus numbers suggests – the nine intervening years saw the appearance of Symphonies Nos. 4-8 and much else. Stylistically, this last sonata looks forward to his third period and its lyricism differs markedly from the fire of its predecessor, while the other eight are youthfully confident; it is perhaps significant that only two of the whole series are in a minor key.

Nonesuch Records releases The Art of Instrumentation: Homage to Glenn Gould, by violinist Gidon Kremer and his Kremerata Baltica chamber orchestra, on September 25, 2012, which would have been Gould’s 80th birthday. The album comprises 11 pieces and arrangements by contemporary composers that quote from or are inspired by works, mostly by Bach, that Gould famously recorded during his career; two Arnold Schoenberg pieces also are drawn upon in one piece.