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Track(s) taken from CDA67691/2

Partita No 3 in E major, BWV1006

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: 18 minutes 17 seconds

Cover artwork: Photograph by Sussie Ahlburg.

Other recordings available for download

Elizabeth Wallfisch (violin)
Pavlo Beznosiuk (violin)
Markku Luolajan-Mikkola (baroque cello)


'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 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

La Partita en mi majeur (BWV1006) est peut-être la plus facile d’accès parmi les six œuvres pour violon seul. Elle commence par un superbe Preludio de bravoure où l’enchaînement presque ininterrompu de doubles croches, comme les passages de bariolage et la brillante tonalité de mi majeur imprègnent cette pièce de rayonnement et d’excitation par anticipation. Bach lui-même devait particulièrement apprécier ce mouvement car, neuf ans plus tard, en 1729, il a transcrit la partie de violon pour orgue, en ajoutant des parties de cordes, hautbois et basse continue afin de créer une sinfonia pour une cantate de mariage (BWV120a). Deux ans plus tard, il est revenu à nouveau vers ce morceau pour en élargir l’orchestration en ajoutant des trompettes et des timbales, cette fois comme introduction à une cantate (BWV29) pour l’installation du conseil municipal de Leipzig en 1731. Dans les autres mouvements, Bach a résisté à la séquence conventionnelle de danses de la suite classique et s’est confiné à des galanteries. Après une Loure, mouvement comparable à une gigue mais au rythme plus complexe, vient une entraînante Gavotte en rondeau. Le premier des deux Menuets a un air de raffinement courtois, alors que le second, avec ses blanches liées qui produisent un effet de bourdon, est d’un caractère plus pastoral. La Bourrée syncopée tire des effets intéressants des contrastes dynamiques soigneusement marqués de Bach, alors qu’une Gigue insouciante et alerte amène la partita à une conclusion chaleureusement expressive et conviviale.

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

Die Partita in E-Dur (BWV 1006) ist möglicherweise das am besten zugängliche Werk des Zyklus. Es beginnt mit einem kühnen und bravourösen Preludio, dessen fast ununterbrochene Sechzehntelbewegung und „Bariolage“-Passagen in leuchtendem E-Dur dem Stück ein Strahlen und eine angespannte Erwartungshaltung verleihen. Bach selbst muss dieser Satz besonders gut gefallen haben, da er 1729, neun Jahre später, die Violinstimme für Orgel umschrieb und Stimmen für Streicher, Oboen und Basso continuo hinzufügte und das Ganze als Sinfonia für eine Hochzeitskantate (BWV 120a) verwendete. Zwei Jahre später kehrte er wiederum zu dem Stück zurück und dehnte diesmal die Orchestrierung noch weiter aus, indem er Trommeln und Trompeten hinzufügte und damit die Einleitung zur Kantate BWV 29 für die Ratswahl in Leipzig 1731 anfertigte. In den verbleibenden Sätzen richtete Bach sich nicht nach der konventionellen Abfolge von Tänzen in einer klassischen Suite, sondern beschränkte sich stattdessen auf „Galanterien“. Auf eine Loure, ein Satz, der im Charakter an die Gigue erinnert, jedoch einen komplexeren Rhythmus hat, folgt eine eingängige Gavotte en rondeau. Das erste der beiden Menuette erzeugt eine Atmosphäre höfischer Kultiviertheit, während das zweite mit seinen gebundenen Halben im Bass einen eher pastoralen Charakter hat. Die synkopierte Bourrée erhält durch die von Bach genau angegebenen dynamischen Kontraste einen gefälligen Charakter, während eine anmutige, heitere Gigue die Partita zu einem warmen, ausdrucksvollen und fröhlichen Ende bringt.

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

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