Virtuoso violinist Movses Pogossian releases his soulful performance of Bach’s iconic Sonatas and Partitas for solo violin. The recording represents a wonderful balance between historically informed and modern approaches to the repertoire, and is shaped, in part, by Pogossian’s meaningful association with luminaries György and Márta Kurtág. Paul Griffiths contributes wonderfully creative and lyrical liner notes.
# | Audio | Title/Composer(s) | Performer(s) | Time |
---|---|---|---|---|
Total Time | 172:26 | |||
Violin Sonata No. 1 in G Minor, BWV 1001 |
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01 | I. Adagio | I. Adagio | 5:57 | |
02 | II. Fugue | II. Fugue | 5:26 | |
03 | III. Siciliana | III. Siciliana | 4:39 | |
04 | IV. Presto | IV. Presto | 4:09 | |
Violin Partita No. 1 in B Minor, BWV 1002 |
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05 | I. Allemanda | I. Allemanda | 7:49 | |
06 | II. Double | II. Double | 4:00 | |
07 | III. Corrente | III. Corrente | 3:36 | |
08 | IV. Double | IV. Double | 3:45 | |
09 | V. Sarabande | V. Sarabande | 5:21 | |
10 | VI. Double | VI. Double | 3:43 | |
11 | VII. Tempo di Borea | VII. Tempo di Borea | 3:48 | |
12 | VIII. Double | VIII. Double | 3:54 | |
Violin Sonata No. 2 in A Minor, BWV 1003 |
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13 | I. Grave | I. Grave | 5:55 | |
14 | II. Fugue | II. Fugue | 9:03 | |
15 | III. Andante | III. Andante | 7:27 | |
16 | IV. Allegro | IV. Allegro | 6:05 | |
Violin Partita No. 2 in D Minor, BWV 1004 |
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17 | I. Allemanda | I. Allemanda | 7:21 | |
18 | II. Corrente | II. Corrente | 3:09 | |
19 | III. Sarabanda | III. Sarabanda | 5:51 | |
20 | IV. Gigue | IV. Gigue | 4:36 | |
21 | V. Ciaccona | V. Ciaccona | 17:16 | |
Violin Sonata No. 3 in C Major, BWV 1005 |
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22 | I. Adagio | I. Adagio | 5:56 | |
23 | II. Fugue | II. Fugue | 12:33 | |
24 | III. Largo | III. Largo | 4:34 | |
25 | IV. Allegro assai | IV. Allegro assai | 5:33 | |
Violin Partita No. 3 in E Major, BWV 1006 |
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26 | I. Prelude | I. Prelude | 3:50 | |
27 | II. Loure | II. Loure | 5:09 | |
28 | III. Gavotte en Rondeau | III. Gavotte en Rondeau | 3:11 | |
29 | IV. Menuet I and II | IV. Menuet I and II | 5:03 | |
30 | V. Bourrée | V. Bourrée | 1:38 | |
31 | VI. Gigue | VI. Gigue | 2:09 |
Acclaimed Armenian born violinist Movses Pogossian releases his performance of the full set of Bach's iconic Six Sonatas and Partitas for Solo Violin. Pogossian's soulful and thoughtful version strikes an ideal balance between various approaches to Bach. He incorporates the best characteristics of historically informed performance alongside aspects of the expansive, violinistic style associated with 20th century readings. His deep understanding of the structure of these works provides the foundation for the entire recording, elucidating the genius craft behind the fugues, the elegant harmonic architecture of the slow movements, and the brilliant "fortspinnung" or "spinning out" of motivic and episodic material in the fast movements. His lively articulation in dance movements is matched with a lyrical purity in the slower material. Pogossian mines the spiritual core of the slow movements brilliantly, preserving forward direction at deliberate tempi that allow him to explore the emotional color of each note. His approach is influenced by close work with György and Márta Kurtág, whose essential insights on Bach and music in general have inspired legions of wonderful musicians the world over. Pogossian is Professor of Violin at UCLA and can be heard as a soloist and chamber musician worldwide, as a champion of new compositions and virtuoso performer of works in the traditional canon. Proceeds from sales of this recording are going to support two organizations: Music for Food in Boston and the Lark Musical Society in Glendale, CA.
When it comes to Johann Sebastian Bach's works for solo violin and solo cello, it seems to me that their popularity and influence are at a peak. Or is it just that my appetite for hearing them has become more insatiable as I seem to continually hear them anew? But it is not just me. I have come across and mentioned on these pages a number of interesting compositions in the contemporary new music scene that make use of solo Bach in creating new confluences. And the number of new releases of recorded performances of the solo works seems higher than ever before...and more diverse in terms of the baroque to modern spectrum of possibilities.
I won't try to explain why this may be so. I cannot easily say, except to note the possibility that we are in a new baroque era ourselves, aesthetically speaking. A discussion on that would tip the balance of this review away from the music itself, so I must cut it short. Regardless, the solo works speak to us today as some of the most direct expressions of Bach's genius, surely. And string players have for a long time had the tackling of these works as a key part of their training, no? What counts in the end is their beauty, their facing of the musical cosmos with just four strings and a wealth of inventive brilliance.
Armenian violinist Movses Pogossian brings us a new version of Bach's Six Sonatas and Partitas for Solo Violin on 3-CDs (New Focus Recordings FCR 178) and I for one am glad he did. I've been immersed in the recording for a couple of weeks, sounding a constant as the parade of life passes by, anchoring me in the unassuming but vastly rich music that counters all that life might hold in store, or amplifies it, depending on how life is at the time. For me it is more a countering these days.
At any rate Pogossian does not bring us an ultra-baroque reading, with catgut strings, baroque bows and a litany of ornamentational end points. He choses the conventional modern violin and a straightforward but feelingful production of the six works. Nonetheless it sounds very true to Bach, so I guess one could say it is a middle-of-the-road version. Pogossian gets inside the music and gives us strong performances of the very sturdy sections, then slows down to savor the movingly preludian portions.
In the end Pogossian sings from his depths and thereby channels Bach in ways that bring us joy. I most certainly recommend this version if you don't have one yet. It is a benchmark for how we hear the music today. It also extends and compliments other versions, you who like me cannot seem to get enough.
Pogossian is a true artist. His Bach rings with its own creative truth. That is a great thing.
— Grego Edwards, Gapplegate Classical, 4.4.2017