Bach: Violin Sonatas and Partitas - Kremer

Gidon Kremer records Bach’s Sei Soli for violin, ECM New Series.

What different ways there are to perform (and record) Bach’s Sonatas and Partitas! I would pair this recording by Kremer with my first, recorded by Itzhak Perlman. Both are “modern” violinists, in a time where we now look backward when performing. Backward in a positive sense, of course. It doesn’t mean Bach (or any other composer) cannot be performed on modern instruments. My only gripe is when we play modern, and then try to emulate the past. Why put theorboes in the orchestra with Vivaldi when we’re playing on modern instruments with vibrato?

To say Kremer’s recording is “modern” is a compliment, he doesn’t overdo vibrato, another quality I find tasteless when playing on the violin. In fact, I think performers today are learning from one another… “period” players are warming up, romanticist players are cooling down. Maybe.

I don’t much care what Kremer’s theory is behind scholarship. He simply has made a definitive, tour de force (whatever that means), personal recording that sounds great. And he plays so well, too.

He doesn’t hold back, either. Listen to the famous long Chaconne. He’s beating the living hell out of the instrument, broad, strong, intense strokes. Baroque purists might run in fear. But it’s real authenticity. This is a man who’s gotten into Bach’s head, and his own, and is making this music his own. Above all, this recording exudes confidence. There’s no doubt he owns the notes, the bow strokes, and makes sounds that feel convincingly authoritative. It might not be Bach’s sound world, but it’s Kremers. And that’s something to admire.

I recently acquired the Holloway recording of this music on ECM (look forward to a review). His take is different. So is Huggett’s, and all the rest. Listening to Kremer simply makes you feel good. His interpretation might not be the “Best,” but it’s very good, and demands your full attention. He reveals qualities in these works I don’t always hear. This is good!

The recorded sound is excellent: close, but enough air and “reverb.” Excellent, clean technique, and a beautiful violin sound. This has already become a favorite recording. Kremer takes chances where others are careful. His playing exaggerates the slurs and phrase groupings that would help any violin student get it right. Maybe overdone, but I like it. It’s not what I typically hear.

I realize these notes are not very specific or well-organized. I apologize. But your mind will likely be filled with superlative thoughts in disarray when you listen to Kremer’s Bach. There’s variety of dynamics, breathtaking speed, and impressive technique. Above all, it’s Bach, who ought to be as proud as proud gets for writing such engaging, perfect, delicious music that in our day is still celebrated, and by so many folks, in different ways.