The Bach sonatas and partitas for solo violin made perfect coronavirus recording fare, with no social distancing required, and this reading by violinist Augustin Hadelich was recorded in the grim summer of 2020. As it happens, the time available for reflection on these profound works seems to have done Hadelich good, for this is an unusual version. Hadelich reflects on the well-known advantages of a Baroque bow in this music, and the agility the bow brings in the multiple stops and the dance rhythms of the suites is ...
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The Bach sonatas and partitas for solo violin made perfect coronavirus recording fare, with no social distancing required, and this reading by violinist Augustin Hadelich was recorded in the grim summer of 2020. As it happens, the time available for reflection on these profound works seems to have done Hadelich good, for this is an unusual version. Hadelich reflects on the well-known advantages of a Baroque bow in this music, and the agility the bow brings in the multiple stops and the dance rhythms of the suites is deployed to excellent effect. However, this is not a historical-instrument performance. Hadelich uses (presumably) modern strings, which combine with the Baroque bow to produce a striking, brilliant tone and a virtuoso effect. The big Chaconne in the Partita No. 2 for solo violin, BWV 1004, has an impressively variegated surface and an epic scope, and the smaller dances have a great deal of forward energy. It all fits into a theory of the word "Baroque" and its application to these pieces...
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