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Bach/Bartok/Boulez: Works For Solo Violin

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Audio CD, 13 Jan 2017
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Product details

  • Conductor: -
  • Composer: Bach/Bartok/Boulez
  • Audio CD (13 Jan. 2017)
  • Number of Discs: 1
  • Label: Accentus
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: 272,097 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
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Track Listings

Disc: 1

  1. Anthemes I
  2. I. Tempo Di Ciaccona
  3. II. Fuga
  4. III. Melodia
  5. IV. Presto
  6. I. Adagio
  7. II. Fuge
  8. III. Largo
  9. IV. Allegro Assai
  10. Anthemes II

Product description


Violinist Michael Barenboim releases his debut solo album in January 2017 featuring the unusual juxtaposition of Bach, Bartók and Boulez. Three works demanding huge technical capabilities and pushing the boundaries of the violin's playability, the album includes J.S. Bach's Sonata in C Major BWV1005, Bartók's Sonata Sz.117 and Boulez's Anthèmes I & II. The latter, which Michael Barenboim recorded at IRCAM, is a celebration of a long history of collaboration between the late composer and the soloist, who worked on Anthèmes together. Conceived as a solo recital, the album showcases the acclaimed violinist's skills and comprises the works of three composers who have had a profound impact on Barenboim's musical upbringing. He comments I was determined to have the pieces speak to each other, to engage in a dialogue and stimulate each other. My interpre¬tations change through the desire to create a programmatic frame¬ work, where the juxtaposition of different works leads to a richer and deeper understanding of each one. This also changes the music to a certain extent. --Classic CDs, Dec'16

Barenboim makes it all sound easy with performances spilling over with life and drama. --Gramophone, Mar'17

RECOMMENDED RECORDING This unusual programme demands the kind of disciplined virtuosity that Michael Barenboim (son of Daniel) has in spades. His performances, flawlessly reproduced, are utterly persuasive and compelling. He has Boulez's first-hand approval of his interpretation of the theatrical gestures of Anthèmes I & II and gives strikingly authoritative accounts, skilfully supported in Anthèmes II by Jeremie Henrot s electronics. Barenboim negotiates Bartók's sonata with deep insight and imagination, along with plenty of muscle and passion, displaying remarkable mastery of tonal colour throughout. He revels in the Tempo di ciaccona's astringent harmonies, extremes of range and dynamic contrasts and interprets the angular second movement as a true fugal fantasy. He is lyrical and intimate in the Melodia and animated in the final Presto, surmounting its technical difficulties with apparent ease. In Bach's C major Sonata Barenboim demonstrates that he is equally at home in 18th-century repertoire...He sustains the melodic line of the hypnotic Adagio with enviable control and makes the monumental fugue a model of structural and contrapuntal lucidity. He plays the lyrical Largo with poise and expression and his Allegro assai romps to a thrilling conclusion. An impressive 'chip off the old block', Barenboim is surely destined for the top. /// It may just be a wooden box with four strings, but what a world of sounds the violin can create! This cleverly arranged CD is bookended with Boulez's Anthems I and II, showing the possibilities of the instrument on its own, and with electronics. /// Bartók's expansive four-movement Sonata (1944, for Yehudi Menuhin) finds Barenboim in gutsy and confident form for the arresting opening gesture and he goes on to use his virtuosic technique to clarify this complex music with shape and intensity, continued into the remaining movements, whether severe, touchingly expressive or, finally, racy and folksy (the last movement is without quartertones, as per Menuhin's edition)./// Michael Barenboim's disc consists solely of pieces by composers whose names begin with B, but it's effectively an A-Z of solo violin technique, as well as a demonstration of his winning versatility. Bach's C major Sonata's narrative is plotted with unerring skill, the hypnotic slow opening slowly growing in intensity before Barenboim lets off steam with an immaculate fugue. Similarly, the Largo prepares us for a bubbly, unbuttoned finale, Barenboim's dynamic control masterly./// --The Strad, Apr'17/// BBC Music Magazine, May'17/// Classical Source, June'17/// The Arts Desk, June'17

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