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Hyperion Records

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Photograph by Sussie Ahlburg.
Track(s) taken from CDA67691/2
Recording details: February 2009
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: October 2009
Total duration: 18 minutes 17 seconds

'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)

Partita No 3 in E major, BWV1006
1720; Cöthen; Sei Solo a Violino senza Basso accompagnato Libro Primo; first published in 1802

Preludio  [3'14]
Loure  [4'10]
Bourrée  [1'16]
Gigue  [1'40]

Other recordings available for download
Elizabeth Wallfisch (violin)
Pavlo Beznosiuk (violin)
Introduction  EnglishFrançaisDeutsch
The Partita in E major (BWV1006) is, perhaps the most readily accessible of the six works for unaccompanied violin. It begins with a dashing, bravura Preludio whose almost unbroken pattern of semiquavers, together with passages of ‘bariolage’ and its bright key of E major, imbue the piece with radiance and anticipatory excitement. Bach himself must have thought especially well of this movement since, nine years later, in 1729, he transcribed the violin part for organ, adding parts for strings, oboes and basso continuo to create a sinfonia for a wedding cantata (BWV120a). Two years later, he turned to the piece again, further expanding the orchestration to include trumpets and drums, this time to provide an introduction to a cantata (BWV29) for the installation of the Leipzig city council in 1731. In the remaining movements Bach resisted the conventional sequence of dances belonging to the classical suite, confining himself to ‘galanteries’. After a Loure, a movement of gigue-like character but with a more intricate rhythm, follows a catchy Gavotte en rondeau. The first of two Menuets yields an air of courtly refinement while the second, with its tied ‘drone’ minims is of a more pastoral character. The syncopated Bourrée derives engaging effects from Bach’s carefully marked dynamic contrasts, while an airy, sprightly Gigue brings the Partita to a warmly expressive and convivial conclusion.

from notes by Nicholas Anderson © 2009

Other albums featuring this work
'Bach: Sonatas and Partitas for solo violin' (CDD22009)
Bach: Sonatas and Partitas for solo violin
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £27.98 (ARCHIVE SERVICE) CDD22009  2CDs Dyad (2 for the price of 1) — Archive Service  
'Bach: Sonatas and Partitas for solo violin' (CKD366)
Bach: Sonatas and Partitas for solo violin
MP3 £8.00FLAC £10.00ALAC £10.00 CKD366  Download only  

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