Solo Baroque
A fine soloist allies stylish playing with adventurous programming
View record and artist detailsRecord and Artist Details
Composer or Director: Heinrich Ignaz Franz von Biber, Johann Georg Pisendel, Johann Sebastian Bach, Johann Paul von Westhoff
Genre:
Instrumental
Label: Cedille
Magazine Review Date: 3/2005
Media Format: CD or Download
Media Runtime: 73
Mastering:
Stereo
DDD
Catalogue Number: CDR90000078
Tracks:
Composition | Artist Credit |
---|---|
(3) Sonatas and 3 Partitas, Movement: Sonata No. 1 in G minor, BWV1001 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Rachel Barton, Violin |
(3) Sonatas and 3 Partitas, Movement: Partita No. 2 in D minor, BWV1004 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Rachel Barton, Violin |
Solo Violin Suite II |
Johann Paul von Westhoff, Composer
Johann Paul von Westhoff, Composer Rachel Barton, Violin |
Passacaglia for Violin |
Heinrich Ignaz Franz von Biber, Composer
Heinrich Ignaz Franz von Biber, Composer Rachel Barton, Violin |
Sonata |
Johann Georg Pisendel, Composer
Johann Georg Pisendel, Composer Rachel Barton, Violin |
Author: DuncanDruce
The recording, admirably realistic but slightly clinical, puts Barton Pine under close scrutiny and shows her as a most accomplished Baroque violinist, fully the equal of the foremost specialists. Her fine tone is capable of sounding expressive without reliance on vibrato. There are occasional moments of uncomfortable intonation but these seem to be because of the way she tempers certain intervals, thirds especially. In general the playing is remarkably clean, pure and stylish; I particularly admired her chord playing in the Westhoff, a densely polyphonic piece that’s made to sound entirely poised and natural.
In Bach, she doesn’t show quite the same expressive force as Rachel Podger nor the grandeur of Sigiswald Kuijken (these players are both recorded in larger, more resonant acoustics). But throughout the recital she demonstrates an acute rhythmic sense, allowing flexibility while retaining the character of all the dance movements. And there’s a highly developed feeling for musical form; the confident way she leads us through to the climactic moments of the two long variation pieces (Biber and the Bach Chaconne) makes for unusually satisfying performances.
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