Perhaps you were in a bad mood when you listened to the Milstein recording? I do hope that you will listen to it again. In my opinion, calling Milstein's Bach soulless is equivalent to calling Walter's Mozart soulless. This is certainly the most shocking review I have read this year. :-O

While I also do have certain reservations about this Milstein set, I have to disagree strongly with two main points made in this review. (I'm really not trying to be argumentative, but I have listened to the recording for years, and I am astounded at the discrepancy between what I have listened to and what is described in this review.) First: Let's leave my subjective opinion out. This set is--- from a technical standpoint--- actually very below par for Milstein. There are numerous very noticable intonation squabbles which are quite uncharacteristeric of Milstein's playing. I do not believe that the "Milstein technique" is at all accurately represented in this recording. However, (and here we leave the realm of my objectivity) I do believe Milstein has alot musically to say in this recording. True, Milsteins earlier Bach set is alot more 'exciting' (and in tune!) but I believe that in the final analysis Milsteins playing here is much more introspective and (for phrasing and direction of line) interesting. This recording expresses the musical ideas of one of the greatest violinists of all time after a lifetime of playing the Bach Sonatas and Partitas. While this reviewer's tastes may prefer Bach to be played differently, to say that this Bach is "devoid of expression" is absolutely unfair.

I have read your review of Milstein's Bach recording, and find your review to be very silly. Milstein's Bach holds up today better than any live performer as a true example of thorough understanding of not only the notes on the page but soul behind the page. His life long research into this area is unquestionable by any renowned music critic in the world, dead or alive, not to mention the admiration from vast number of refined artists arould the world who has set standards of violin performance. I have personally known Mr. Milstein, and have studied both of his Bach recordings thoroughly. From the perspect of structure, they are of paramont clarity, and could easily compared to the refinements that of Michaelangelo. Phrasing was carefully treated with both grandness and delication that prompt one to be shamed in not have realizing them ourselves. Both Menuhin and Szigeti are artists of first order, and they both hold Milstein's Bach playing to be the highest standard. You should have learned your composition and theory course a little more in school, so you wouldn't shame youself by criticizing something that you obviously have no understanding of.

Dear JZ, I read your comment on my article, and would like to take exception with your remark about my taking composition and theory courses -- these alone do not help in one's musical preferences. Nowhere in the article did I say that there was a lack of clarity, the 'amateurity' I referred to was more that of a lack of an obvious living music-making. Mechanical and technical skills are important, obviously, but ask any teacher worth his or her salt and he or she will tell you that it will only get you so far. What I found lacking in this performance which I enjoyed in other performances was the humanity, the "livingness", the variety in spirit. Milstein's Bach perhaps exemplifies the Russian Style also held by Heifetz, but this is by no means the only performance style for Bach, and I should perhaps say that if virtuosity is a primary concern then these performances will leave you satisfied. I have played these discs over and over again, and Milstein's beautiful tone does "get" me, and I do admire his poise in the fugues, but what it reminds me of is a cathedral, beautiful in its frescos and architecture -- but with no-one in it. Is this Bach?

I regret that you still have not discover that learning composition and theory is a vital part of developing an acceptable musicality or musical preference. It's like a sports reporter must know that the sport his is reporting! No different. All the great music critics in history have proven themselves as, if not a music scholar, admirable musicians. Take examples from A. Schoenberg, V. Thompson, C. Debussy, M. Ravel, I. Stravinsky, R. Schumann, and I can go on and on... The problem of current days' music critic is lack of proper musicality themselves. The Chinese used to say: it takes a good horseman to know a good horse. Alas, it is only the basic logic! To say Milstein's Bach is pure technique display is to say The Grand Canyon is merely rocks. Classical music is a subtle and complex art form. In order to have a proper understanding of its performance, one must be humble enough to first learn its basic elements and "DNA". That is way the great composers and performers have better understanding of it than a non-profession person. Many great performers are able composers, Milstein included. His cadenzes for various concerti are of admirable value. Classical music had its glorious days because these innovative people, like Milstein, Rachmaninov, Kreisler, Mahler, etc. Today's music critics are irresponsible in their comments. Without any serious mastery in any music performance or composition, he could pick up a pen, and criticize all the previous immortals without problems. Dear "Critic", you must be more talented than Milstein youself! I'm sad to see a young observer like yourself not realizing your ignorance. And this is where the downfall begins.

Derek, My introduction to the Bach Sonatas and Partitas is the Milstein/DG version you so mercilessly rip apart in your review. All I can say is that, thanks to this recording, I have finally come to appreciate and love these works. If this issue is so bad may I enquire why other critics, namely those from The Penguin Guide and Grammophone Magazine, offer glowing reviews?

As author of an upcomimg review book, directly intended to compete with The Peguin Guide I have listened to a lot of recordings. Specifically, over 50 of these pieces. On balance after many repeated hearings and direct comparisons with other performances I can easily say Milstein's DG set easily has the most depth of any set heard. I think your review lacks familiarity with the works, and the spirit of Bach. I agree with another commentor that Milstein's playing on this set, technically finds him at his weakest. However, what soul, what depth, what spirit of Bach. If you like Szigeti try Lautenbacher on Vox. Much better.

i really enjoy playing the partita no. 3 in e major so i do not believe what you are saying is true!

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I agree. The Milstein performances are enormously overrated. Szeryng and numerous others offer far superior recordings. I was shocked to hear how weak these are after reading their praises from so many people. The best one can say is that he plays the notes.