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Violin Solos - Released March 6, 2020 | Ricercar

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Johann Paul von Westhoff (1656-1705) was one of the most brilliant members of the significant school of violinists that flourished in seventeenth-century Dresden. This impressive virtuoso, who was even applauded by Louis XIV at Versailles, wrote the very first compositions for unaccompanied violin, which of course foreshadow the later masterpieces of Johann Sebastian Bach. The programme recorded here includes some suites from his collection published in Dresden in 1696, as well as the suite that was printed in the Mercure galant of Paris in 1683, following his visit to Versailles. © Ricercar
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Violin Solos - Released August 30, 2019 | Ad Vitam records

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Violin Solos - Released July 19, 2019 | CAvi-music

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Violin Solos - Released April 26, 2019 | Channel Classics Records

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Still relatively unknown outside of Northern Europe, Rosanne Philippens is one of the best Dutch violinists of her young generation. She has an exclusive recording contract with label Channel Classics. The fifth album of this fruitful collaboration, "Insight", is also the young musician’s very first solo programme, proposing works from Biber, Bach, Enescu and Ysaÿe, as well as a few improvisations, bridging the gap between pieces. Right from the incipit of Biber’s Passacaglia, Rosanne Philippens amazes with the fleshy, woody sonority of her instrument, the brightness of her phrasings and the flow of her conceptions. This programme features a dialogue between centuries, a conversation between wildly diverse aesthetics, and must be approached like a genuine journey, without markers, a dive into the unknown. The works are fragmented; J. S. Bach’s Partita No. 2 for instance is presented in two distinct pieces, and doesn’t even include the final Chaconne − maybe in volume two? Biber’s wonderful Passacaglia (perhaps its most beautiful recorded interpretation on a violin) opens and closes the album. To go along, some fantastic pieces by Enescu, starting with the Sarabande, a clear homage to the Thomaskantor. In the very rare Airs dans le genre roumain, Rosanne Philippens attests her natural insight into Eastern European compositions – she has already recorded many of Bartók and Szymanowski’s works. An artist worth discovering in a particularly bold programme. © Pierre-Yves Lascar/Qobuz
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Violin Solos - Released April 19, 2019 | Channel Classics Records

Hi-Res Booklet Distinctions Diapason d'or
Baroque violinist Rachel Podger is right that Bach's output is riddled with transcriptions, and that the same is true of the performance history of his works. Hence, she is on solid historical ground here, with at least the first five of Bach's six Suites for Solo Cello, BWV 1007-1012. The Suite No. 6 for solo cello, BWV 1012, is a different story: the work was written for a five-string cello, giving it a range that puts it out of reach of any violin, Baroque or otherwise. This one was accomplished with studio trickery, which has its place, but is intrusive here. Another complaint is the cavernous recital hall sound in what is manifestly chamber music. For the most part, though, Podger is enjoyable to listen to here. She makes the cello suites, for the most part, into violin music; putting some zip into the faster dances so they avoid the more deliberate mood of the cello. Her vivacious style comes through in movements like the Bourrée from the Suite for solo cello No. 4 in E flat major, BWV 1010. The slower dances are by no means unpleasant, but here the transformation is a bit less successful. Part of the appeal of the cello suites is that they are among those works, like Beethoven's Ninth, that lie at the limits of performers' capabilities. Here those limits are not a question of the voice, or the speed of the fingers, but of the capability of a cello to realize the implied polyphony in Bach's music. On a Baroque violin there is not the same kind of struggle. Nevertheless, Podger fans will find plenty to like here. © TiVo
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Violin Solos - Released April 19, 2019 | Channel Classics Records

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Violin Solos - Released March 15, 2019 | Accentus Music

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The Polish Jewish-born Mieczyslaw Weinberg made his way to Moscow during World War II and was lucky enough to have his music championed by Shostakovich during one of the latter's government-approved periods. His music sounds a bit like that of Shostakovich (sample, perhaps, the beginning of the 21st prelude here), but he generally has his own voice. Weinberg wrote these preludes for cello (for Mstislav Rostropovich, who never performed them), and they have occasionally been recorded in that form; the violin transcription here by Latvian star Gidon Kremer squeezes the original work's broad range but also adds a level of virtuosity on the high notes that wasn't there originally. The 24 preludes do not form a set in all the major and minor keys as do those of Bach or Chopin, and they're perhaps more etudes than preludes, each of them exploring a little technique or motif. Combined with Kremer's brilliance, this creates a slightly mysterious effect, as if you are hearing an impassioned speech in an unfamiliar language. They are entirely unlike the Shostakovich preludes for piano, and there is nothing of the neo-classic about them although they are tonally organized. Although the pieces are quite short, they have a personal quality. The Accentus label, going full ECM with its black-and-white-photo-on-gray graphics, does a wonderful job sonically at the Paliesiaus Dvaras, apparently a small hotel, in Lithuania; the violin has an almost tactile quality. A nice find for those who know Weinberg only through his symphonies, or not at all. © TiVo
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Violin Solos - Released October 5, 2018 | Decca Music Group Ltd.

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Record of the Month
A student of the last student of Ysaÿe, American violinist Hilary Hahn has played Bach's solo violin music since she was nine, and inaugurated her recording career seven years later with a recording of half the cycle of six, in 1997. That recording rightly won acclaim with its flawless technique and Apollonian lines straight out of the best of the French violin school. Uniquely, she has returned to complete the set 21 years later, and the results are marvelous. It's sometimes hard to pin down the ways in which Hahn's style has changed, but it has to do with a kind of inner relaxation, with a willingness to let the meter vary a bit and pick it up again in the longer line. The flawless tone is still there, but it's not so much an end in itself. It's not an accident that some of the graphics picture Hahn smiling, nor that her quite relevant notes to the album detail the long creative process that went into making it. Sample anywhere, but you could try the very beginning, the first movement of the Sonata for solo violin No. 1 in G minor, BWV 1001, where Hahn takes just a bit of time, draws you in, and lets the rest of the movement flow from there. Decca's engineers do excellent work in a Bard College auditorium that one might not have picked as a venue for this. A superb release from one of the preeminent violinists of our time. © TiVo
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Violin Solos - Released September 7, 2018 | Aparté

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In his turn the conductor and first violin of the Freiburger Barockorchester engraved these emblematic pages for violin. On his instrument by the Milanese lutenist Paolo Antonio Testore (1690-1767), Gottfried von der Goltz tackles without any display this corpus for solo violin. He plays them in an authentic, personal and sober (a little too reserved?) way with a constant concern to put forward their rich architecture and polyphony always in a deep understanding of the writing. © Qobuz 2018  
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Violin Solos - Released May 25, 2018 | LSO Live

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Violin Solos - Released January 12, 2018 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica
There comes a moment in the career of any respected violinist (and even some who aren't), when they dream of playing, and perhaps recording, Paganini's 24 Caprices. And that is precisely what German star violinist Augustin Hadelich (b. 1984) has done. Hadelich has been a regular fixture in the orchestras of Boston, Chicago, Cleveland, Los Angeles, New York, Philadelphia, San Francisco, London, Munich and Salzburg, for whom he has given some of the greatest concertos that exist, but he has also performed a repertoire of much rarer, contemporary works, which he has decided to champion. Hadelich tackles these 24 Caprices, which Paganini wrote over about 15 years, from 1802 to 1817, without intending to make them into a cycle in their own right - much less a programme to be played in a single concert; indeed, it seems that he never performed them in concert himself - like many small Italian operas (but French ones as well, in the tradition of grand opéra), each one is concentrated down into a few minutes. They run from grandiose tragedy in the style of Meyerbeer, to lighter shades of Rossini, with a real lyrical and vocal vision which is as far removed as can be from pure and demonstrative virtuosity. At 33 years old, Hadelich shows consistent maturity, but also humility, and a sense of experience which one would expect to see in a much older musician. © SM/Qobuz
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Violin Solos - Released October 20, 2017 | Solo Musica

Hi-Res Booklet Distinctions 5 de Diapason - 5 étoiles de Classica
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Violin Solos - Released September 8, 2017 | Ondine

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Of course, since years Bach’s Sonatas and Partitas for solo violin have been recorded over and over again, including by world’s best and most prestigious solists. But when violinist Christian Tetzlaff releases a brand new recording, we can only say: “Friends, countrymen, lend Qobuz your ears”. Concerts with Christian Tetzlaff often become an existential experience for interpreter and audience alike; old familiar works suddenly appear in an entirely new light, also – of course – within the frame of a new studio recording such as this one. Essential to Tetzlaff’s approach are the courage to take risks, technical brilliance, openness and alertness to life. Such an interpretation becomes a real challenge for the aficionado and guarantees a brilliant musical adventure.
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Violin Solos - Released June 23, 2017 | Fuga Libera

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Kaleidoscope. That single word encapsulates Elsa Grether’s aim in her new album: to illustrate the full expressive range of her violin by exploring its repertory in all its stylistic diversity. From Bach’s famous Chaconne to Tôn Thất Tiết’s contemporary idiom in Métal Terre Eau, by way of Eugène Ysaÿe, Aram Khachaturian, Arthur Honegger and Isaac Albéniz, the violinist’s third release for Fuga Libera offers a cocktail of colours and timbres. She charms her listeners with an invariably elegant sound and firmly sculpted lines as she invites us to explore this multifaceted instrument. A voyage of discovery across time, space and aesthetics that will appeal to the widest audience ! © Fuga Libera/Outhere
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Violin Solos - Released May 19, 2017 | Rubicon Classics

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Violin Solos - Released April 20, 2016 | Magnatune

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Violin Solos - Released March 18, 2016 | Berlin Classics

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Violin Solos - Released December 24, 2015 | Oehms Classics

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Violin Solos - Released October 31, 2014 | a-b.violin

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Violin Solos - Released May 6, 2014 | Naxos

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Chamber Music in the magazine