Thomas Zehetmair J.S. BACH Sonates et Partitas (Video)

SONATES ET PARTITAS

Francisco Fullana BACH'S LONG SHADOW

 

BACH'S LONG SHADOW

 

Bob van der Ent JOHANN SEBASTIAN BACH Sonatas and Partitas for Violin Solo

 

SONATAS AND PARTITAS FOR VIOLIN SOLO

Alina Ibragimova PAGANINI 24 Caprices

 

24 CAPRICES

 

Augustin Hadelich BACH Sonatas & Partitas

 

SONATAS & PARTITAS

 

Leila Schayegh JOHANN SEBASTIAN BACH Sonatas and Partitas

 

SONATAS AND PARTITAS

Kerson Leong YSAŸE Six Sonatas for Solo Violin

 

SIX SONATAS FOR SOLO VIOLIN

 

Vicente Cueva JORGE GRUNDMAN Shoah for Solo Violin and Sacred Temple

 

SHOAH

 

Lisanne Soeterbroek SHINING OF HER EYES

 

SHINING OF HER EYES

 

Liu Yunzhi J.S. BACH Sonatas & Partitas for Solo Violin

 

SONATAS & PARTITAS FOR SOLO VIOLIN

 

Kim Miyoung J.S. BACH Sonatas & Partitas for Solo Violin BWV 1001 - 1006

 

SONATAS & PARTITAS FOR SOLO VIOLIN

Rachel Kolly BACH Partitas

 

PARTITAS

 

Yuri Liberzon J.S. BACH 3 Violin Sonatas

 

3 VIOLIN SONATAS

 

Naria Kim MEMOIRS OF PIAZZOLLA

MEMOIRS OF PIAZZOLLA

 

Thibault Noally A VIOLINO SOLO

À VIOLINO SOLO

Judith Ingolfsson THE HAPPIEST YEARS

                                                         THE HAPPIEST YEARS

Liliana Bernardi AUSTRIAN BAROQUE FOR SOLO VIOLIN

                                          AUSTRIAN BAROQUE FOR SOLO VIOLIN

Gottfried von der Goltz TELEMANN Frankfurt Sonatas

Gottfried von der Goltz, first violin and conductor of the first-rate Freiburger Barockorchester comes back with a new album dedicated to the violin sonatas of a young - and already brilliant - Telemann. Rarely recorded, these works show a very surprising form as they allow the musician total freedom of expression and ornamentation. These features demonstrate also the unique creative inventiveness already in germ in Telemann’s music.

Telemann, a deep connoisseur of French an Italian tastes, puts a great delicacy in these sonatas (Francfort, 1715) as he deploys a quite outstanding melodic line and announces the galant style to come. With this release, Gottfried von der Goltz stands as an expert in Telemann as he provides an interpretation that reflects the main features of his works: vibrant and subtle.

Thomas Zehetmair JOHANN SEBASTIAN BACH Sei Solo

Composed three centuries ago, Johann Sebastian Bach’s set of six works for solo violin stands as one of the holy grails of the instrument’s literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments.
Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory, and has also found an extra calling as a conductor, channeling this varied experience into his return to the formidable cornerstone of Bach’s solo masterpieces.
As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument.  For this new recording, he draws out exquisite colours from two violins from Bach’s lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made.
Peter Gülke, in his accompanying essay, refers to the “floating spirituality” of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original.

Ulf Wallin / Roland Pöntinen JOHANNES BRAHMS The Five Sonatas for Violin & Piano Vol. 1

Asked the question ‘How many sonatas for violin and piano did Johannes Brahms compose?’, many lovers of chamber music would probably answer three, and maybe also add their respective keys and opus numbers. When pressed, a number of them would also remember the so-called F.A.E. Sonata, a collaborative effort by the young Brahms, Albert Dietrich and their mentor Robert Schumann. But very few would probably think of the two Opus 120 sonatas, composed in 1894 for clarinet (or viola) and piano, but a year later published in the composer’s own versions for the violin. As the range of the B flat clarinet goes a fourth lower than that of the violin, Brahms had been forced to make considerable revisions to the clarinet part – which in turned entailed changes in the piano part, and consequently the printing of a new piano score.
The seasoned team of violinist Ulf Wallin and pianist Roland Pöntinen have now decided to record all the Brahms sonatas, and the results are being released on two discs, the first one including the first of the ‘official’ sonatas, No. 1 in G major, Op. 78, the F minor Sonata from Op. 120 and Brahms’s Scherzo from the F.A.E. Sonata. Wallin and Pöntinen round off the programme with transcriptions of two of Brahms’s more lyrical songs.