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 Eugčne Ysa˙e, and par.ti.ta by Lera Auerbach. ...
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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 Eugčne Ysa˙e, 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 Ysa˙e'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....
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