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par.ti.ta

Vadim Gluzman

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Langue disponible : anglais

Violinist Vadim Gluzman's 2012 hybrid SACD on BIS focuses on the Baroque form of the partita or suite, as represented by J.S. Bach's Partita No. 2 in D minor (famous for its last movement, the Chaconne), and the Partita No. 3 in E major (equally celebrated for the dazzling Prelude and the charming Gavotte en rondeau). But Gluzman also wants to draw connections to two modern works in his repertoire that show Bach's persistent influence, the Sonata in A minor for solo violin by Eugène Ysaÿe, and par.ti.ta by Lera Auerbach. This seems to be a practical way of introducing listeners to less familiar fare by showing that music doesn't develop in a vacuum, and that Bach can often be found as an antecedent, as he obviously is in these selections. The Prelude from the Partita No. 3 is plainly audible at the outset of Ysaÿe's sonata, and connections to the Partita No. 2 gradually emerge from Auerbach's highly abstract work, where passages are quoted, fragmented, reshaped, and adapted to modern string techniques. Yet there is a change in the listener's reception when Ysaÿe and Auerbach rip Bach's music from the familiarity of the dance suite, and reshape it into looser forms that develop and distort it into sardonic commentary. When one hears Bach, one easily recognizes the conventions of 18th century music, but feelings of alienation and disorientation are hinted at in the sonata and made blatant in par.ti.ta. Gluzman is fully communicative, and he demonstrates that he has internalized these works thoroughly. His Bach is impeccable, and listeners will find the partitas enjoyable. However, because of their quirkiness, the other pieces may require several hearings before their enigmatic appropriations and updated contexts make sense.
© TiVo

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Violin Partita No. 2 in D Minor, BWV 1004 (Johann Sebastian Bach)

1
Violin Partita No. 2 in D Minor, BWV 1004: I. Allemande
00:04:28

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

2
Violin Partita No. 2 in D Minor, BWV 1004: II. Courante
00:02:23

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

3
Violin Partita No. 2 in D Minor, BWV 1004: III. Sarabande
00:03:37

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

4
Violin Partita No. 2 in D Minor, BWV 1004: IV. Gigue
00:04:05

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

5
Violin Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
00:12:51

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

Par.ti.ta (Lera Auerbach)

6
Par.ti.ta: I. Prelude: Adagio
00:01:59

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

7
Par.ti.ta: II. Moderato
00:02:21

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

8
Par.ti.ta: III. Andantino scherzando
00:01:21

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

9
Par.ti.ta: IV. Serioso
00:02:41

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

10
V. Adagio
00:02:51

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

11
Par.ti.ta: VI. Vivo scuro
00:01:29

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

12
Par.ti.ta: VII. Adagio tragico
00:01:30

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

13
Par.ti.ta: VIII. Grave
00:02:50

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

14
Par.ti.ta: IX. Allegro ossessivo
00:01:14

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

15
Par.ti.ta: X. Postlude: Adagio
00:02:25

Vadim Gluzman, Performer - Lera Auerbach, Composer

2012 BIS

Violin Partita No. 3 in E Major, BWV 1006 (Johann Sebastian Bach)

16
Violin Partita No. 3 in E Major, BWV 1006: I. Preludio
00:03:37

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

17
Violin Partita No. 3 in E Major, BWV 1006: II. Loure
00:04:06

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

18
Violin Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau
00:02:50

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

19
Violin Partita No. 3 in E Major, BWV 1006: IV. Menuett I-II
00:03:56

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

20
Violin Partita No. 3 in E Major, BWV 1006: V. Bourree
00:01:19

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

21
Violin Partita No. 3 in E Major, BWV 1006: VI. Gigue
00:01:56

Vadim Gluzman, Performer - Johann Sebastian Bach, Composer

2012 BIS

Violin Sonata in A Minor, Op. 27 No. 2 (Eugène Ysaÿe)

22
Violin Sonata in A Minor, Op. 27 No. 2: I. Prelude, "Obsession"
00:02:11

Vadim Gluzman, Performer - Eugène Ysaÿe, Composer

2012 BIS

23
Violin Sonata in A Minor, Op. 27 No. 2: II. Malinconia
00:02:55

Vadim Gluzman, Performer - Eugène Ysaÿe, Composer

2012 BIS

24
Violin Sonata in A Minor, Op. 27 No. 2: III. Sarabande, "Danse des ombres"
00:04:02

Vadim Gluzman, Performer - Eugène Ysaÿe, Composer

2012 BIS

25
Violin Sonata in A Minor, Op. 27 No. 2: IV. Les furies
00:03:16

Vadim Gluzman, Performer - Eugène Ysaÿe, Composer

2012 BIS

Descriptif de l'album

Violinist Vadim Gluzman's 2012 hybrid SACD on BIS focuses on the Baroque form of the partita or suite, as represented by J.S. Bach's Partita No. 2 in D minor (famous for its last movement, the Chaconne), and the Partita No. 3 in E major (equally celebrated for the dazzling Prelude and the charming Gavotte en rondeau). But Gluzman also wants to draw connections to two modern works in his repertoire that show Bach's persistent influence, the Sonata in A minor for solo violin by Eugène Ysaÿe, and par.ti.ta by Lera Auerbach. This seems to be a practical way of introducing listeners to less familiar fare by showing that music doesn't develop in a vacuum, and that Bach can often be found as an antecedent, as he obviously is in these selections. The Prelude from the Partita No. 3 is plainly audible at the outset of Ysaÿe's sonata, and connections to the Partita No. 2 gradually emerge from Auerbach's highly abstract work, where passages are quoted, fragmented, reshaped, and adapted to modern string techniques. Yet there is a change in the listener's reception when Ysaÿe and Auerbach rip Bach's music from the familiarity of the dance suite, and reshape it into looser forms that develop and distort it into sardonic commentary. When one hears Bach, one easily recognizes the conventions of 18th century music, but feelings of alienation and disorientation are hinted at in the sonata and made blatant in par.ti.ta. Gluzman is fully communicative, and he demonstrates that he has internalized these works thoroughly. His Bach is impeccable, and listeners will find the partitas enjoyable. However, because of their quirkiness, the other pieces may require several hearings before their enigmatic appropriations and updated contexts make sense.
© TiVo

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