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Track(s) taken from CDA67691/2

Sonata No 3 in C major, BWV1005

composer
1720; Cöthen; Sei Solo a Violino senza Basso accompagnato Libro Primo; first published in 1802

Alina Ibragimova (violin)
Recording details: February 2009
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: October 2009
Total duration: 22 minutes 29 seconds

Cover artwork: Photograph by Sussie Ahlburg.
 
1
Adagio  [4'11]
2
Fuga  [10'39]
3
Largo  [3'20]
4
Allegro assai  [4'19]

Other recordings available for download

Pavlo Beznosiuk (violin)
Elizabeth Wallfisch (violin)

Reviews

'Ibragimova reveals herself to be an exquisite interpreter of solo Bach … her Bach comes as something of a revelation. The finesse we've previously admired in her playing is here combined with thoughtful stylistic awareness and a distinctive, individual approach … all her stylishness and technical refinement is at the service of an ingrained understanding of the music' (Gramophone)

'She's supremely alert to the idiomatic nuances of each dance … her technical accomplishment is awesome. The D minor Giga scampers along as if mindful of the transcendent monumentality of the Ciaccona lurking around the corner—and when it arrives, Ibragimova tip-toes and soars with aplomb' (BBC Music Magazine)

'Ibragimova comes of age with this superb set … this is a violinist of interpretative maturity and thrilling spark' (The Daily Telegraph)

'Alina Ibragimova is a player of great musical imagination and intelligence and this—combined with superb technique—produces some exceptional results in her new recording of the Bach Sonatas and Partitas for solo violin … this set reveals a Bach player of real stature … warmly recommended' (International Record Review)

'Alina Ibragimova's previous discs for Hyperion have all been of 20th-century repertoire … all in their different ways were first rate, but none of them gave any inkling of just how startlingly good Ibragimova's solo Bach recordings might be. This is an absolutely compelling set of performances, the kind that have you on the edge of your seat wondering at the freshness of it all and what she might do next. Every phrase in these familiar works seems newly minted, every bar totally alive' (The Guardian)

'Young, excellent and serious, this 24-year old violinist plays with a maturity far beyond her years. In this two-CD set she's right inside the music, whether Bach calls for roaring fire or the tenderest melancholy' (The Times)

'One baulks at reducing this sublime discourse to adjectives … these solo structures are thin yet monumental, linear yet multilayered, technically specialised yet altogether soul-rending, and she capitalises on every paradox. More simply, her sound is seductive, her virtuosity bracing and every movement a victory … a true enshrining of the violin's soul' (The Sunday Times)

'Admirable agility, clean articulation and perfectly true intonation, and everywhere her technique is impressive … she continually looks to the beauty of the music … the sound quality is fabulous' (The Strad)

'Ibragimova's combination of intelligence and intuition, vulnerability and steel on display in this new set will surely prove revelatory … she makes familiar works sound both spontaneously conceived and inevitable' (The New York Times)
The third and last of the Sonatas (BWV1005) is in the key of C major and begins with an elegiacally expressive Adagio whose writing embraces one-part to four-part texture. It leads to an immense, multiple-layered Fuga, 354 bars in length, whose single subject derives from the Pentecostal antiphon ‘Veni Sancte Spiritus’, from which the chorale melody ‘Komm, heiliger Geist, Herre Gott’ also derives. The scale of the movement, its contrapuntal density, the sustained ingenuity of the writing and its intimidating technical requirements, make it a daunting challenge to the performer. As such it may be regarded as a companion piece to the D minor Ciaccona. The lyrical and serene melody of the third movement Largo, in F major, provides both expressive contrast and necessary relief from the imposing, concentrated and technically challenging content of the Fuga which preceded it. The C major Sonata concludes with a spirited and brilliantly coloured Allegro assai in which Bach, once more, leads the performer and his instrument towards the limits of possibility.

from notes by Nicholas Anderson © 2009

La troisième et dernière sonate (BWV1005) en ut majeur commence par un Adagio à l’expression élégiaque dont l’écriture embrasse une texture qui oscille entre une et quatre parties. Il mène à une immense Fuga aux multiples voix, de trois cent cinquante-quatre mesures. Son seul et unique sujet est dérivé de l’antienne de la Pentecôte «Veni Sancte Spiritus», dont provient également la mélodie du choral «Komm, heiliger Geist, Herre Gott». L’échelle du mouvement, sa densité contrapuntique, l’ingéniosité soutenue de l’écriture et son niveau technique intimidant constituent un terrible défi pour l’instrumentiste. En tant que telle, elle peut être considérée comme le pendant de la Ciaccona en ré mineur. La mélodie lyrique et sereine du troisième mouvement, un Largo en fa majeur, apporte à la fois un contraste expressif et un soulagement nécessaire au contenu imposant, concentré et difficile sur le plan technique de la Fuga qui le précède. La Sonate en ut majeur s’achève sur un Allegro assai plein d’entrain et brillamment coloré dans lequel Bach mène une fois encore l’interprète et son instrument vers les limites du possible.

extrait des notes rédigées par Nicholas Anderson © 2009
Français: Marie-Stella Pâris

Die dritte und letzte Sonate (BWV 1005) steht in C-Dur und beginnt mit einem elegisch-expressiven Adagio, in dem die volle Bandbreite von der Einstimmigkeit bis zur Vierstimmigkeit vertreten ist. Es führt zu einer riesigen, vielschichtigen Fuga von 354 Takten hin, deren einziges Thema aus der Pfingst-Antiphon „Veni Sancte Spiritus“ stammt, von der auch die Choralmelodie „Komm, heiliger Geist, Herre Gott“ abgeleitet ist. Die Ausmaße des Satzes, die kontrapunktische Dichte, die geniale Kompositionsweise und die enormen technischen Anforderungen machen das Stück zu einer beängstigenden Herausforderung für den Interpreten. In dieser Hinsicht kann es als Pendant zu der Ciaccona in d-Moll betrachtet werden. Die lyrische und heitere Melodie des dritten Satzes in F-Dur, Largo, bietet sowohl expressiven Kontrast als auch notwendige Entspannung nach dem imposanten, konzentrierten und technisch anspruchsvollen Inhalt der vorangehenden Fuga. Die C-Dur Sonate schließt mit einem beherzten und brillant schattierten Allegro assai, in dem Bach den Interpreten und sein Instrument einmal mehr an die Grenzen des Möglichen führt.

aus dem Begleittext von Nicholas Anderson © 2009
Deutsch: Viola Scheffel

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