Gidon Kremer has again recorded the Sonatas and Partitas for Solo Violin of Bach and while his facility and technical grace are intact, in this recording he appears to have been deeply influenced by his time with the moderns (Adams, Pärt, Schnittke, Piazzola, Glass, et al). For this listener it seems that studying and performing these contemporary composers' manipulation of sound and instrumental scope has enriched Kremer's thought about the perfection of Bach. Not everyone will agree with Kremer's approach to these works on this new recording, but for those who know Bach's solo violin pieces there are pleasures in store. Remaining technically suave and with a luxuriant tone, Kremer seems to be communicating with the psychological Bach, offering different tempi and more soulful approaches than those of his colleagues. The results are mesmerizing. Highly recommended.
'Capriccio' sees French violinist Renaud Capuçon, now in his early 30s, paying tribute to legendary violinists of the 20th century, including Kreisler, Heifetz, Milstein and Menuhin. This appetising selection of short pieces – virtuosic and lyrical, original compositions, transcriptions and arrangements – demonstrates the captivating charm the violin can exert.
None of these reconstructions are included in Teldec’s Bach 2000, although the better-known ‘originals’ obviously are. The real newcomer is the Sinfonia, BWV1045 (5'34'') ‘to an unknown cantata’ which – as befits a BWV number that immediately precedes the First Brandenburg Concerto – is rumbustious, festive and thematically likeable. Time and again I could sense allusions to other Bach instrumental pieces, though the soloist’s ceaseless arpeggiating is sometimes a distraction. We’re told it’s authentic (the manuscript source suggests a violin concerto in the making) but something about its harmonic language doesn’t quite ring true, though that reaction might well be due to lack of familiarity.