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Track(s) taken from CDA67691/2

Partita No 2 in D minor, BWV1004

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: 29 minutes 38 seconds

Cover artwork: Photograph by Sussie Ahlburg.

Other recordings available for download

Pavlo Beznosiuk (violin)
Markku Luolajan-Mikkola (baroque cello)
Elizabeth Wallfisch (violin)
Gordan Nikolitch (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 Partita No 2 in D minor (BWV1004) is the best known of Bach’s six works for unaccompanied violin on account of its brilliantly sustained, imaginatively varied and architecturally magnificent Ciaccona. Like the B minor Partita, it begins with an Allemanda which on first acquaintance may seem a little lacking in geniality. This movement, along with the Corrente which follows it and the subsequent Giga, progresses in a single continuous melodic line, in which harmony provided by multiple stopping is almost entirely absent. The Sarabanda, by contrast, with its richly chordal passages gives the impression, to some extent illusory, of greater complexity. The mighty concluding Ciaccona, a 257-bar ‘morceau célèbre’ and veritable Goliath of the violin repertory, is built on a noble and declamatory theme upon which Bach develops sixty-four continuous variations, exploring a dazzlingly intricate range of harmonic possibilities. This is a movement of unfathomable subtlety, astounding virtuosity and great expressive and architectural beauty. Bach seems to have set himself incalculable challenges, sustaining his Chaconne with a major-key section, rhythmic diversity and a kaleidoscope of technical devices both pushing the boundaries of, and summarizing, we might say, the baroque violinist’s art.

from notes by Nicholas Anderson © 2009

La Partita no 2 en ré mineur (BWV1004) est la plus célèbre des six œuvres pour violon seul de Bach. Elle doit à sa Ciaccona brillamment soutenue, pleine d’une imagination diversifiée et magnifiquement construite. Comme la Partita en si mineur, elle commence par une Allemanda qui, à première vue, peut sembler manquer un peu de douceur. Ce mouvement, tout comme la Corrente qui le suit et la Giga subséquente, progresse en une ligne mélodique unique et continue, pratiquement dépourvue de l’harmonie provenant de l’emploi des cordes multiples. En revanche, la Sarabanda, avec ses passages richement harmoniques, donne l’impression, illusoire dans une certaine mesure, d’une grande complexité. La puissante Ciaccona conclusive, un «morceau célèbre» de deux cent cinquante-sept mesures, véritable Goliath du répertoire du violon, est construite sur un noble thème déclamatoire que Bach développe en soixante-quatre variations qui s’enchaînent, explorant une gamme audacieusement complexe de possibilités harmoniques. C’est un mouvement d’une subtilité insondable, d’une virtuosité incroyable et d’une grande beauté expressive et architecturale. Bach semble s’être donné à lui-même des défis impossibles à estimer, soutenant sa chaconne avec une section dans une tonalité majeure, une diversité rythmique et un kaléidoscope de procédés techniques qui repoussent à la fois les limites de l’art du violoniste baroque et, pourrait-on dire, le résument.

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

Die Partita Nr. 2 in d-Moll (BWV 1004) ist das berühmteste der sechs Bach’schen Werke für Violine solo, da hier die brillant kontinuierliche, phantasievoll variierte und architektonisch großartige Ciaccona vorkommt. Ebenso wie die h-Moll Partita beginnt auch dieses Werk mit einer Allemanda, die auf den ersten Blick vielleicht nicht übermäßig genial wirkt. Dieser Satz und die beiden folgenden, Corrente und Giga, fährt mit einer einzelnen, durchgehenden Melodielinie fort, in der ein harmonisches Gerüst mit Doppelgriffen praktisch abwesend ist. Die Sarabanda hingegen gibt mit ihren üppigen akkordischen Passagen den—teilweise illusorischen—Eindruck größerer Komplexität. Die mächtige abschließende Ciaccona, ein 257-taktiges „morceau célèbre“ und wahrhaftiger Goliath des Violinrepertoires, ist auf einem noblen und deklamatorischen Thema aufgebaut, worüber Bach 64 fortlaufende Variationen komponiert und dabei eine schillernd komplexe Palette harmonischer Merkmale präsentiert. Es ist dies ein Satz von unergründlicher Subtilität, außerordentlicher Virtuosität und einer besonderen ausdruckvollen und architektonischen Schönheit. Bach scheint sich hier unermessliche Ziele gesteckt zu haben: die Chaconne wird mit einer Dur-Passage aufrechterhalten, die rhythmische Vielfältigkeit und ein Kaleidoskop von technischen Stilmitteln dehnen einerseits, wenn man so will, die Grenzen des Barockgeigers aus und fassen sie andererseits auch wieder zusammen.

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

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