Search - Mullova :: Sonatas & Partitas for Solo Violin

VIKTORIA MULLOVA's STUNNING MASTERWORK: BACH'S SOLO VIOLIN

RBSProds | Deep in the heart of Texas | 05/12/2009

(5 out of 5 stars)

"Five BRILLIANT Stars!! Award-winning violin virtuoso Viktoria Mullova gives one of the definitive versions of J. S. Bach's three solo violin sonatas and partitas. All were composed in 1720 and are presented here on 2 CDs in a manner which interleaves the sonatas and partitas. In the last two decades, Ms Mullova has shown a total fascination with and intensive study of Bach, especially significant since in Russia she was taught to play Bach in a different manner. Her self-study has brought Bach front and center in both her public and private life, bordering on the transcendental and a part of her relaxation at home. She has studied the baroque era with today's masterful groups and individuals, decisively moving from baroque recordings with modern classical violin setups to re-stringing her violins and using the baroque bow and style. It is hard to believe this CD contains her first recording of the 3 Bach sonatas, although she has previously recorded the solo partitas on Bach: Partita Nos.1-3. She uses the Baroque era setup on her 1750 Guadagnini violin with contemporary gut strings which are tuned down to A=415 Hertz and a Barbiero contemporary baroque bow. She favors this violin for baroque work lately, instead of her "Jules Falk" Stradivarius which she has also used. As for the Bach musical scores themselves, legend informs us they were almost accidentally destroyed. The sound of the violin is very vivid and intimate with a drawing-room ambiance that puts Ms Mullova right in the listener's room, with a slight echo that may be attributed to vibrato coming from her tightly controlled left hand dynamics. She has stated this achieves her objectives. This sustained sound is fitting for this performance. Throughout Mullova, bowing relentlessly with fire, velocity, stately elegance, and sensitivity where required, is superb finding new nuances.



The 'best of the best' begin with the amazing Fuga: Allegro movement with Mullova literally accompanying herself through the rounds courtesty of Bach, and the mesmerizing blazing bow work of the Presto movement of Sonata No. 1 in G Minor, BWV 1001. The searing rendering of the Double: Presto movement (the second of the four double movements) of Partita No. 1 In B Minor, BWV 1002 is awe-inspiring, as is the fourth Double: the eighth movement of Partita No. 1 In B Minor, BWV 1002. Her daughter loves the lyrical, double stop-affected Andante movement of Sonata No. 2 in A Minor, BWV 1003: III, humming it at home, so it is dedicated to her. And there is the superb, fleet phrasing of the Giga (fourth) movement leading up to the nearly 14-minute Ciaccona (Chaconne) movement of the Partita No. 2 In D Minor, BWV 1004. Mullova plays this legendary Ciaccona dance movement, adapted since Bach for other instruments, marvelously: investing it with lyricism, sadness, and loss, with just the right touch of virtuosity. Ms Mullova takes full advantage the baroque setup and her nimble bow mastery, doing things that cannot be done with the modern box. This is just an overview of the excellence awaiting the listener in these 6 beautifully complex, highly enjoyable solo violin sonatas and partitas. This is brilliant, always impressive, sometimes stunning and breathtaking music displaying the virtuosity of Mullova and the genius of Bach. My Highest Recommendation. Five RADIANT Stars!! (This review is based on an iTunes Plus download.)"

Beautiful recording, but I felt betrayed

Bart Weisser | Canada | 06/17/2009

(3 out of 5 stars)

"In her notes, Viktoria Mullova mentioned how she was converted from the "Russian" school and started playing the Bach solo pieces with a "Baroque" approach. I was at first delighted to finally find a recording that took a more authentic approach, because I wanted to hear the difference in playing and interpretation.



When I listened to it, I thought first the playing was immaculate, but something didn't really sit right. Then the Milstein started playing in my head, and I realized she was playing exactly with the same techniques as she would with a normal violin. I supposed she thought that a "Baroque" style simply consists of playing with a German bow, gut strings, and a semitone down.



One of my first recordings was her Tchaikovsky and Sibelius, which I still enjoy immensely. So I think my comments did not do her much justice. Mullova's recording is still much superior than some other recent so-called Baroque recording (Lara St. John's, for instance, but comparing the two would be a big insult to Mullova). In her still evident "Russian" interpretation, there is still a great deal of beauty and humility in her playing.



I simply think that Mullova should not claim this work as "truly" Baroque. Helene Schmidt and Rachel Barton Pine gave recordings that are more in line with what Mullova aspired for with this CD.



Update: I saw a very recent documentary on Mullova on German TV. There were clips of her playing Bach, which I believe is part of the promotion for this CD. Yes, I still recognize the playing. Behind the gut strings, the Russian influence still plants deep within her bowing."

A personal comparison of various recordings of Bach's Partit

Rasmus Oerndrup | Copenhagen, Denmark | 03/12/2010

(5 out of 5 stars)

"I have only been listening to nine different recordings of these works, so I am in fact a complete novice in the field (and no musicologist at all), all the same I will try to give short comments on these nine interpretations that just might help you to choose which set you want to buy.



My personal favourite is no doubt John Holloway's recording (on ECM). When I first heard it I had only been listening to Shlomo Mintz (on DG) and Hilary Hahn (on Sony), so I feared the great Ciaccona/Chaconne of BWV 1004, because both of those artists' interpretations of that movement sounded like musical warfare, full of shrieks and noises. But Hallelujah! Guess what happened? The movement made sense to me for the first time - in Holloway's hands it is actually music! And the rest of the set also sparkles in Holloway's recording. What is so special about Holloway's version is that it has an almost spiritual, metaphysical aspect to it that nobody else achieves. It is a recording full of sublime transcendental beauty. That aspect of course is emphasized by the wonderful church acoustics (another great Manfred Eicher production from ECM). The booklet contains a performer's note and a few facsimile pages of Bach's beautiful handwritten score. If you are looking for just one recording, you don't really have to read further - I recommend that you buy Holloway's set.



If you have not bought Holloway's set yet, I have to say a little more about Mintz and Hahn: The aggressive approach in Mintz' Ciaccona/Chaconne is more or less present throughout Mintz' recording and in my opinion his playing does not quite justify it - it is "agitated" without having a reason to be so. If you want the sort of expressive power which Mintz is trying to put into these works Nathan Milstein (on DG) is a better option (NB: There is an earlier recording from EMI which I am not reviewing here). The problem with Hahn is that you are more impressed than moved; she plays fast - some might even say that she is superficial and skates over the essentials. Hahn also has a tendency to romanticize in the slow movements. Besides it is not a complete recording, she only plays half the works (BWV 1004, 1005 and 1006). However, her version of BWV 1006 is probably my favourite because of its exquisite, exuberant brilliance that fits that partita well.



Sigiswald Kuijken (on DHM) is almost as good as Holloway and he almost reaches Holloway's metaphysical heights, but his Ciaccona/Chaconne is not entirely perfect, it sounds like separate movements put together rather than as a whole. The performance has rougher edges than Holloway's, which can be a good thing. (NB: I am reviewing the 2001 release from DHM not the earlier release on the same label.)



Viktoria Mullova (on Onyx) and Rachel Podger (on Channel) are more down to earth than Holloway, but they both play beautifully. Maybe Podger is a somewhat overrated performer of Bach's music for solo violin. Her recording has been praised by numerous critics and it is so beautiful that I would like to like it more, but isn't it just a little bit boring? I am listening to it right now and again I get this sort of feeling: "Yes, it is beautiful, but why am I listening to it?" That question answers itself when I listen to Holloway or Kuijken. With Kuijken and Holloway playing the music explains itself, it says: "I will just explain how this sounds." If you are looking for clarity and serenity choose Mullova. Make sure you buy the new Onyx set not the old Philips release!



If you want the slow movements played slow and the rest played beautifully by a young talented violinist Julia Fischer (on Pentatone) should be your choice.



Henryk Szeryng's first recording (on Sony) from 1955 is very serious and intense, a haunting (but also demanding) experience. Szeryng later made another recording for DG but I have not heard it (yet). Of course you should expect less than perfect sound on a recording that is more than fifty years old.



Mullova, Kuijken, Podger and Holloway play period instruments.



Szeryng, Mintz, Milstein, Hahn and Fischer play modern instruments.

"