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Track(s) taken from CDA67691/2

Sonata No 2 in A minor, BWV1003

1720; Cöthen; Sei Solo a Violino senza Basso accompagnato Libro Primo; first published in 1802; later transcribed, possibly by Wilhelm Friedemann Bach, as the Sonata for harpsichord solo, BWV964

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: 23 minutes 22 seconds

Cover artwork: Photograph by Sussie Ahlburg.

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Pavlo Beznosiuk (violin)
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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)
The third work in Bach’s collection is the Sonata in A minor (BWV1003). In its opening Grave, a Largo to all intents and purposes, Bach makes extensive use of multiple stopping to provide harmonic support to the melodic line. As in the slow movement of the G minor Sonata, the music contains structural ambiguities for performer and listener alike, providing players with a variety of interpretative possibilities. The Fuga which follows presents a terse subject which, however, Bach develops in a manner altogether more complex than the equivalent movement in the G minor work. Here he achieves a wonderful expressive variety, developing the fugal material with contrasting passages of semiquavers, and multiple stopping to create two or three independent parts. The melodic line of the lyrical Andante is strongly differentiated from the underlying harmonic support, presenting something of a challenge to the performer who must preserve the distinction between the two elements. This melodically appealing movement leads to an Allegro finale, in binary form, in which Bach dispenses with multiple stopping in favour of a single melodic line containing a profusion of broken chords. The Sonata was later transcribed, perhaps by Wilhelm Friedemann Bach, as a piece for harpsichord solo (BWV964).

from notes by Nicholas Anderson © 2009

La troisième œuvre du recueil de Bach est la Sonate en la mineur (BWV1003). Dans son Grave initial, quasiment un Largo, Bach fait un usage intensif des accords sur plusieurs cordes pour fournir un soutien harmonique à la ligne mélodique. Comme dans le mouvement lent de la Sonate en sol mineur, la musique contient des ambiguïtés structurelles pour l’interprète comme pour l’auditeur, ce qui offre aux instrumentistes des possibilités d’interprétation très variées. La Fuga qui suit comporte un sujet laconique que Bach développe toutefois d’une manière plus complexe que le mouvement homologue dans l’œuvre en sol mineur. Ici, il parvient à une merveilleuse variété d’expression, développant le matériel fugué avec des passages contrastés en doubles croches et sur plusieurs cordes pour créer deux ou trois parties indépendantes. La ligne mélodique de l’Andante lyrique est fortement différenciée du support harmonique sous-jacent, ce qui constitue un défi pour l’interprète afin que les deux éléments restent bien distincts. Ce mouvement séduisant sur le plan mélodique mène à un Allegro final, de forme binaire, où Bach se passe des cordes multiples en faveur d’une seule ligne mélodique contenant une profusion d’accords arpégés. Cette Sonate a été ensuite transcrite pour clavecin seul (BWV964), peut-être par Wilhelm Friedemann Bach.

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

Das dritte Werk in Bachs Zyklus ist die Sonate in a-Moll (BWV 1003). Im ersten Satz, Grave (das sich wie ein Largo verhält), verlangt Bach mehrmals Doppelgriffe und Akkorde, um der Melodielinie genügend harmonische Unterstützung zu liefern. Ebenso wie in dem langsamen Satz der g-Moll Sonate werden auch hier dem Ausführenden und dem Hörer gleichermaßen strukturelle Mehrdeutigkeiten zugemutet, was den Musikern verschiedene Interpretationsmöglichkeiten bietet. Die darauffolgende Fuga stellt ein prägnantes Thema vor, das Bach jedoch in komplexerer Weise verarbeitet als in dem entsprechenden Satz der g-Moll Sonate. Hier gelingt ihm eine wunderbare expressive Vielfalt, wobei er das Fugenmaterial mit kontrastierenden Sechzehntelpassagen verarbeitet und durch Mehrfachgriffe eine Zwei- bzw. Dreistimmigkeit erzeugt. Die Melodielinie des lyrischen Andante unterscheidet sich deutlich von dem darunterliegenden harmonischen Gerüst, was für den Interpreten eine Herausforderung darstellt, da er den Unterschied zwischen den beiden Elementen herausarbeiten muss. Dieser melodisch schöne Satz führt zum Schlusssatz, Allegro, hinüber, der zweiteilig angelegt ist. Bach gibt hier die Doppel- bzw. Mehrfachgriffe zugunsten einer einzelnen Melodielinie auf, die eine Reihe von gebrochenen Akkorden aufweist. Diese Sonate wurde später, möglicherweise von Wilhelm Friedemann Bach, für Cembalo solo transkribiert (BWV 964).

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

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