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Johann Sebastian
BACH (1685-1750) Partitas & Sonatas for Solo Violin Vol.1 Sonata No.1 in G minor BWV 1001 Partita No. 1 in B minor BWV 1002 Partita No.2 in D minor BWV 1004 CHANNEL
CLASSICS CCS 12198 |
| Partitas
& Sonatas for Solo Violin Vol.2 Partita No. 3 in E major, BWV 1006 Sonata No.2 in A minor, BWV 1003 Sonata No.3 in C major, BWV 1005 CHANNEL
CLASSICS CCS 14498 RACHEL PODGER baroque violin |
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by Ng Yeuk Fan
The Baroque
violin does not sound as full or robust as a modern violin. Tones are
generally more transparent, exhibiting greater clarity; when played well,
this can translate into sublimity - witness Rachel Podger here (right).
Though Bach wrote these works for the violin -
he for a fact did not have the benefit of the modern violin's metallic
strings and superior bow - both of which contributes greatly to the more
vigorous sonic character of the modern instrument. The argument of whether
to play Bach's violin works on modern or original instruments thus engendered,
scholars can entrust themselves with the job of arguing till the cows
come home. As for myself - I choose to appreciate each for their relative
qualities, both of which are breathlessly beautiful in their own way.
Bach was
an extremely pious person, he believed fervently in God. As such, in an
intensely personal work such as the Solo Sonatas & Partitas for Violin,
one senses a very strong vein of deference in his music. It is as it were,
Bach was himself humbled by the greatness of his creator, amazed by the
notes that flew from his hands. Hence, I believe that to play these Violin
Sonatas & Partitas well, one must play it with deep reverential respect
for Bach and further evoke that humbling experience in the listener.
Having said
that - one only need to examine the works of the period to know that the
masters of that period were less concerned with feeling but with symbols.
Indeed, much of Bach's music is intended to be descriptive or symbolical.
Further, towards the end of his life Bach was obssessed with the compiling
and summarising of musical forms such as the fugue. His heroic efforts
in The Art of Fugue, A Musical Offering and the Mass in
B minor are examples of his onerous dedication to didacticism.
This release includes the popular Preludio from the Partita
No.3 in E minor. True to authentic measure, I do not hear the same
heavy resoluteness audible in Menuhin's earlier versions of the
Prelude. Podger plays with crisp lightness and there is tone to
match from her 1739 Pesarinius Baroque vioin from Genoa, Italy.
Speeds become apparently slower in this treatment but the effect
is one of increased clarity and sublimity. There is less scratching
of the strings as it were and it seems as though there is no violin
at all! Listen also to the movement marked Grave in the A
minor Sonata. One experiences this existential feeling - it becomes
just you and the music.
Essentially, Ms Podger continues the philosophy in bringing us
the the second of two volumes of great Baroque violin experience
and it would be wrong here to expect any added Romantiscism or any
large vibrant nobility from her. On the other hand, listen out for
her fabulously personal ornaments, little prizes dropped here and
there to delight the dedicated and attentive listener.
These two should ideally have come as a set and I do not see the
reason in releasing them as two separate albums. Ms Podger's sublime
translation of the Bach behind this great music is as thorough as
can be and cleaving the set into two somewhat dilutes that monumentous
feeling. But this is a small point. Get both. This study into Bach's
Solo Violin Sonata and Partitas will remain an important issue well
past the great Bach's 250th anniversary due in the second millenium.
Hence, it
is not inappropriate that Rachel Podger's version be heard devoid of that
deep-seated passion apparent in Mela Tenenbaum's
version of the same works. If indeed some soul work was involved,
Ms Podger makes it a lot subtler than I can hear it. In her interpretation
of Bach, Podger seems to approach the concept of "a humbling experience"
in an entirely different way. She plays with that Bachian calmness and
calculation and essentially leaves much of the 'talking' to the music
itself, reproducing the score most faithfully. At times, this appears
uninvolving and can lead to 'dryness', especially in the slower movements
such as the opening Allemande of the B minor Partita, when listeners used
to sentimental music can do with some help. At other times, one feels
the weight of soul-searching descending on oneself through Bach's symbols
- neither softened through humanity nor romanticised via petty emotions.
To put it
another way, while Podger risks losing herself as the key link between
music and audience - the musician-interpreter - on the other hand, she,
as it were, erases the interpreter role from this music and brings me
as close to experiencing a pure spiritual experience as I ever possibly
can in this music! And she does this with impeccable technique, great
purity of tone and close to perfect control.
You must
be dying to know which do I prefer? I must admit I would like a more involved
account, one that takes decidedly greater liberties with the music - not
to the extent of playing them with piano accompaniment (as Mendelssohn
and Schumann both did); but by making the notes come alive through one's
own experiences. That said, Ms Podger's intellectual approach is entirely
consistent throughout and sensitive listeners will be richly rewarded
by the revelation and reflection of Bach's intense soul in this sublime
performance. Hear Podger's playing of track 4 - the presto in the G minor
Sonata, and one becomes enraptured by the ease with which she maneuvers
through every single phrase. Despite her choice of a breakneck speed,
she manages to control and effect so much subtle detail in dynamic and
phrasing that one begins to hear the presto in an entirely different light
- one exuding clarity and transparency. This quality is apparent also
in the gigue in the Second Partita.
Sample also
the bourée in the B minor Partita to hear the Baroque violin tone at its
most remarkable - Podger manages such large chords with effortless ease!
Further, the opening allemande of the D minor Partita is played with distinct
fluidity that I have not heard elsewhere. Ms Podger achieves this by employing
an especially broad tone* for the Baroque violin.
(As a matter
of interest for stereophiles - the entire Partita No.2 in D minor seems
to be balanced differently from the other two works in the recording.
Though the entire CD is of consistently good sound, the violin tone in
the Second Partita is apparently more luscious and resonant. Hmm. a curiosity!)
This review,
indeed any review of Bach's Sonatas and Partitas for Solo Violin, is incomplete
without a mention of the formidable Chaconne. Podger demolishes
this 'devilishly' difficult movement in 13 minutes! Hear her produce sweet
fireworks without sounding rushed or careless, but do not expect to hear
the grand largeness that you are accustomed in modern instrument versions
- it would not be consistent here.
This is
an extremely frank account of the Solo Sonatas and Partitas, it does not
seek to impress even though it does - through Rachel Podger's remarkable
control and technique; and it does not evoke superfluous and engaging
emotions. What it does is simpler, yet far more complex - the truth behind
why we have embraced authentic Baroque sound and loved its transparency
in a world that is increasingly messy, harried and deviant - one might
just find a very pure answer here.
This formidable
lady was in Singapore last with the English Concert conducted by Trevor
Pinnock (reviewed here). Her account of
Vivaldi's Four Seasons was a convincing
first for me, having been accustomed to the same work only on modern instruments.
Rachel Podgers, a specialist in the Baroque violin, was invited by Maestro
Trevor Pinnock to join his orchestra as leader and soloist in 1997. However,
even prior to this distinguished engagement, she was already, and still
is, in much demand with established period instrument ensembles worldwide
such as the New London Consort and the Gabrieli Consort. Her interest in
period music practice and performances have led her to found Florilegium,
another exclusive Channel Classics period ensemble.
Volume 2 - Continuing her great philosophical journey
of the Bach Solo Violin Sonatas and Partitas, Rachel Podger's much
awaited Vol.2 is so stunning that it would almost have been unkind
to have had to wait this long after the first volume for it.
by Johann Ernst Rentsch.
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250 Years of J.S.Bach 1750 ~ 2000 There Is No Turning Bach™. |
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To Bach Is To Be Human The Motets The Magnificat The Brandenburg Concerti The Orchestral Suites The Harpsichord Concerti The Goldberg Variations |
In Singapore, Channel discs can be purchased (or ordered) from Borders (Wheelock Place) and HMV (The Heeren).
Yeuk Fan's first violin was not a baroque violin but an abandoned violin
he found in the corridor of his university hostel - still good, he plays
it till this day!
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515: 1.7.1999. up.19.11.1999 ©NG Yeuk Fan
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