Musik-Streaming
Hören Sie dieses Album mit unseren Apps in hoher Audio-Qualität
Testen Sie Qobuz kostenlos und hören Sie sich das Album anHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Abonnement abschließenHören Sie dieses Album im Rahmen Ihres Streaming-Abonnements mit den Qobuz-Apps
Download
Kaufen Sie dieses Album und laden Sie es in verschiedenen Formaten herunter, je nach Ihren Bedürfnissen.
This wild recording, the first volume of two covering all the Bach sonatas and partitas for solo violin, may well polarize listeners into attitudes of love and hate. French violinist Hélène Schmitt delivers readings of the first sonata and the first two partitas that are nowhere near the mainstream for these celebrated works, which are generally regarded as icons of Bach's intellectual accomplishment and have been subjected to all kinds of numerological analysis. Violinists have performed them on modern instruments and on Baroque violins like Schmitt's, but whatever the instrument, the works have usually been accorded weighty, often severe reverence -- an attitude reinforced by their fearsome technical difficulty. Schmitt goes in the opposite direction, with rhythmically free, individualistic interpretations that demolish the symmetries many have found in these works but link them to the fantasy-like solo violin works written by Bach's predecessors. Bach probably did not know the works of Biber, but those who enjoy that Austrian composer's extreme language may well find Schmitt's reading of interest. But despite her nationality there's something decidedly un-French about Schmitt's interpretations. Her treatments of the dance movements in the partitas are so idiosyncratic that the basic rhythms are lost. Sample track 8, the Sarabande movement of the Partita for solo violin No. 1, BWV 1002, to hear the distance between Schmitt's sarabande and the dance's stately origins. It's almost as though, just as modern-instrument performers are starting to show the influence of historically oriented performers, Schmitt is using a Baroque violin to render a version of the hyper-subjective Bach performances of the old Romantic schools. The radical new French performances of Bach, Vivaldi, and other Baroque standards are generally exciting, and Alpha's presentation is as compelling as usual; the Hans Holbein portrait on the cover, with its accompanying art-historical essay, offers a perfect visual analogue to Bach's pieces in its sparse single lines that imply multitudes of structural details. Yet Schmitt's performance, even as it certainly demands attention, is certainly not for everyone.
© TiVo
Sie hören derzeit Ausschnitte der Musik.
Hören Sie mehr als 100 Millionen Titel mit unseren Streaming-Abonnements
Hören Sie diese Playlist und mehr als 100 Millionen Tracks mit unseren Streaming-Abonnements
Ab 12,49€/Monat
Violin Sonata No. 1 in G Minor, BWV 1001 (Johann Sebastian Bach)
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Violin Sonata No. 1 in B Minor, BWV 1002 (Johann Sebastian Bach)
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Violin Sonata No. 2 in D Minor, BWV 1004 (Johann Sebastian Bach)
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Hélène Schmitt, Performer - Johann Sebastian Bach, Composer
2012 Outhere Music France 2004 Alpha
Albumbeschreibung
This wild recording, the first volume of two covering all the Bach sonatas and partitas for solo violin, may well polarize listeners into attitudes of love and hate. French violinist Hélène Schmitt delivers readings of the first sonata and the first two partitas that are nowhere near the mainstream for these celebrated works, which are generally regarded as icons of Bach's intellectual accomplishment and have been subjected to all kinds of numerological analysis. Violinists have performed them on modern instruments and on Baroque violins like Schmitt's, but whatever the instrument, the works have usually been accorded weighty, often severe reverence -- an attitude reinforced by their fearsome technical difficulty. Schmitt goes in the opposite direction, with rhythmically free, individualistic interpretations that demolish the symmetries many have found in these works but link them to the fantasy-like solo violin works written by Bach's predecessors. Bach probably did not know the works of Biber, but those who enjoy that Austrian composer's extreme language may well find Schmitt's reading of interest. But despite her nationality there's something decidedly un-French about Schmitt's interpretations. Her treatments of the dance movements in the partitas are so idiosyncratic that the basic rhythms are lost. Sample track 8, the Sarabande movement of the Partita for solo violin No. 1, BWV 1002, to hear the distance between Schmitt's sarabande and the dance's stately origins. It's almost as though, just as modern-instrument performers are starting to show the influence of historically oriented performers, Schmitt is using a Baroque violin to render a version of the hyper-subjective Bach performances of the old Romantic schools. The radical new French performances of Bach, Vivaldi, and other Baroque standards are generally exciting, and Alpha's presentation is as compelling as usual; the Hans Holbein portrait on the cover, with its accompanying art-historical essay, offers a perfect visual analogue to Bach's pieces in its sparse single lines that imply multitudes of structural details. Yet Schmitt's performance, even as it certainly demands attention, is certainly not for everyone.
© TiVo
Informationen zu dem Album
- 1 Disc(s) - 17 Track(s)
- Gesamte Laufzeit: 01:19:09
- 1 digitales Booklet
- Künstler: Hélène Schmitt
- Komponist: Johann Sebastian Bach
- Label: Outhere
- Genre: Klassik
2012 Outhere Music France 2004 Alpha
Verbesserung der AlbuminformationenWarum Musik bei Qobuz kaufen?
-
Streamen oder downloaden Sie Ihre Musik
Kaufen Sie ein Album oder einen einzelnen Track. Oder hören Sie sich mit unseren hochqualitativen Streaming-Abonnements einfach den ganzen Qobuz-Katalog an.
-
Kein DRM
Die heruntergeladenen Daten gehören Ihnen ohne jegliche Nutzungsbeschränkung. Sie können sie sooft herunterladen wie Sie möchten.
-
Wählen Sie das Format, das am Besten zu Ihnen passt
Sie können beim Download Ihrer Einkäufe zwischen verschiedenen Formaten (FLAC, ALAC, WAV, AIFF...) wählen.
-
Hören Sie Ihre Einkäufe mit unseren Apps
Installieren Sie die Qobuz-Apps für Smartphones, Tablets und Computer und hören Sie Ihre Musikeinkäufe immer und überall.