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Track(s) taken from CDA67691/2

Sonata No 1 in G minor, BWV1001

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: 16 minutes 23 seconds

Cover artwork: Photograph by Sussie Ahlburg.

Other recordings available for download

Pavlo Beznosiuk (violin)
William Carter (lute)
Markku Luolajan-Mikkola (baroque cello)
Kuniko Kato (percussion)
Elizabeth Wallfisch (violin)


'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)
Bach’s set of unaccompanied violin music begins with the Sonata in G minor (BWV1001). Its richly ornamented opening Adagio is both harmonically and expressively wide ranging, taking us far from the home key in the first half of the movement. The Fuga which follows is concisely argued, its densely worked theme almost ever present and discernible throughout. It was later transcribed, perhaps by Bach, for solo organ and for lute solo. The Siciliana, in which three voices are sustained, has something of the character of a trio sonata movement. This technically demanding piece contains intriguing implication and ambiguity for the listener. The Sonata concludes with a lively Presto whose sixteenth-note passagework, chordal figurations and technical virtuosity lend brilliance to its character.

from notes by Nicholas Anderson © 2009

Le recueil de musique pour violon seul de Bach commence par la Sonate en sol mineur (BWV1001). Son Adagio initial richement ornementé est d’une portée considérable tant sur le plan harmonique qu’expressif; il nous emmène loin de la tonalité d’origine dans la première moitié du mouvement. La Fuga qui suit est concise, son thème très travaillé est presque toujours présent et perceptible d’un bout à l’autre. Par la suite, cette Fuga a été transcrite, peut-être par Bach, pour orgue seul et pour luth seul. Le Siciliana, dans lequel trois voix sont soutenues, a un peu le caractère d’un mouvement de sonate en trio. Cette pièce difficile sur le plan technique recèle une implication et une ambiguïté intrigantes pour l’auditeur. La sonate s’achève sur un Presto animé, dont les traits en doubles croches, les figurations en accords et la virtuosité technique donnent de l’éclat à son caractère.

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

Bachs Werkezyklus für Violine solo beginnt mit der Sonate in g-Moll (BWV 1001). Der reich verzierte erste Satz, Adagio, ist sowohl expressiv als auch harmonisch weitgespannt und entfernt sich deutlich von der Grundtonart der ersten Hälfte des Satzes. Die darauffolgende Fuga ist präzis konzipiert und das dicht gearbeitete Thema ist fast durchgehend gegenwärtig und wahrnehmbar. Sie wurde später, möglicherweise von Bach selbst, für Orgel solo und Laute solo umgeschrieben. Das durchgehend dreistimmige Siciliana erinnert im Charakter an einen Triosonatensatz. Dieses technisch anspruchsvolle Stück stellt den Hörer vor faszinierende Verwicklungen und Mehrdeutigkeiten. Die Sonate endet mit einem lebhaften und technisch virtuosen Presto mit brillanten Sechzehntelpassagen und akkordischen Figurationen.

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

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