Crossover Media

Home > Projects > Sei Solo - JSBach, The Sonatas and Partitas > Press Release

Track Listing:

J.S. Bach: Sonata for Violin Solo No. 1 in G Minor, BWV 1001 - 1. Adagio

Fuga. Allegro

Siciliana

Presto

J.S. Bach: Partita for Violin Solo No. 1 in B Minor, BWV 1002 - 1. Allemanda

Double

Corrente

Double. Presto

Sarabande

Double

Tempo di Borea

Double

J.S. Bach: Sonata for Violin Solo No. 2 in A Minor, BWV 1003 - 1. Grave

Fuga

Andante

Allegro

J.S. Bach: Partita for Violin Solo No. 2 in D Minor, BWV 1004 - 1. Allemande

Corrente

Sarabande

Giga

Ciaccona

J.S. Bach: Sonata for Violin Solo No. 3 in C Major, BWV 1005 - 1. Adagio

Fuga

Largo

Allegro assai

J.S. Bach: Partita for Violin Solo No. 3 in E Major, BWV 1006 - 1. Preludio

Loure

Gavotte en Rondeau

Menuet I / Menuet II - Menuet I da capo

Bourree

Gigue

Thomas Zehetmair :

Sei Solo - JSBach, The Sonatas and Partitas

Thomas Zehetmair Baroque violin
Release date: December 6, 2019

ECM New Series 2551
B0031311-02
UPC: 0289 481 8558 0

Composed three centuries ago, Johann Sebastian Bach's set of six works for solo violin stands as one of the holy grails of the instrument's literature – perhaps the holiest. Now the great Austrian musician Thomas Zehetmair makes his own mark in the rich history of this music, revisiting the repertoire on period instruments.

Zehetmair is an extraordinary violinist and a consistently inquisitive and self-questioning artist. He has not only played the big concertos but has given close attention to chamber music and new repertory and has also found an extra calling as a conductor, channelling this varied experience into his return to the formidable cornerstone of Bach's solo masterpieces.

As a young man Zehetmair worked with Nikolaus Harnoncourt in his period ensemble, working with him to prepare for his first recording of the sonatas and partitas on a modern instrument. For this new recording, he draws out exquisite colours from two violins from Bach's lifetime, both of them by masters in the German tradition, but there is nothing antiquarian in his approach – old instruments, for him, are tools with which to express a modern sensibility: alert, edgy, multivalent. His performance engages, too, with the superb acoustic of the priory church of St Gerold, in Austria where so many legendary ECM recordings have been made.

Peter Gülke, in his accompanying essay, refers to the "floating spirituality" of this music, and to how Bach here offers one side of a conversation with the performer, whom he leaves free to determine matters of dynamic shading, phrasing and bowing. Zehetmair brings vividness and intelligence to the conversation on a recording that, deeply steeped in the music and true, is at the same time powerfully original.