Another edition with the Sonatas and Partitas for violin by Bach. It is apparently the standard collection that violinists always fall back on. Rightly so. After all, here is not only that one monumental Chaconne. The first Partita (BWV.1002) is also beautiful, with beautifully elaborated variants (doubles), just take the melancholic Sarabande. Very festive is the third Partita (BWV.1006), in which
… it constantly seems as if the sun is rising. And so there are surprises everywhere that make this music so timeless, despite the partly limited possibilities of the violin (glorious in terms of melancholy and acrobatics, but limited in terms of harmony and polyphony). Thomas Zehetmair once reviewed these pieces with Nikolaus Harnoncourt, when he was still part of the . That was then in preparation for a recording with a modern violin. For his latest recording, Zehetmair opted for two historical instruments: a violin by an unknown Tyrolean master from around 1685 (provided by a friend) and his own Eberle violin from around 1750. Which violinist is not surprised by the full notes of dansante Fugue in G minor (BWV.1001)? Zehetmair manages to add the most charming embellishments to this polyphony (bars 36-41). (HJ)more
