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In Reply to: RE: Yes, but with a big "but" posted by John Marks on November 15, 2011 at 06:55:58
Fun challenge:
Overall musician playing violin: can't disagree on Oistrakh, but would nominate Szigeti
Don't think I agree on Mutter. I have been impressed lately with Julia Fischer, but don't know if she has peaked yet. I also think Hilary Hahn will pass them both.
Follow Ups:
OK, here's a historical puzzler: Szigeti recorded the complete Bach Solo Sonatas and Partitas twice, and in addition recorded quite a few bits and pieces in the 78-rpm age.
Oistrakh: no complete sets and no bits and pieces I can recall.
Funny, isn't that?
JM
Oistrakh did record the G Minor Sonata, BWV 1001. Enjoy it below. (Isn't youtube great?) Before the baroque revival, which reached full bloom in the 1960s, I don't think it was considered essential for every violinist to record all of them. I have a record of Szigeti doing two of them in the 1940s, but I think that was from a radio recital. You can hear him tuning between movements. Ossy Renardy recorded two of them for Decca in 1950.
I think Szeryng's great 1954 set on Odeon had a major impact, and of course a number of great complete sets soon followed that one.
Yup. The Greatest. Ever. And now my new all-time Favorite. Thanks.
And a YT commenter claims that Bach was disfavored in the Soviet Union as a "religious composer." I had never heard that before, but it could be right.
And, technically, the Solo Sonatas (but not the Partitas) are indeed sonatas "da chiesa." Indeed, the C-major solo sonata does have the overall structure of a Mass--but in the sense of describing the Mass as an event, not in the sense of the "Ordinary" Kyrie, etc. musical Mass-setting structure.
The first movement starts with a bell-like tolling, calling people to worship. The second movement starts with a declamatory statement that can be imagined as a Gospel passage, and the elaboration of the fugue can be seen as the sermon. The slow movement is a meditation after Communion. The last movement is a Benediction and "Ite, Missa Est." This is a notion I came up with myself, and have never seen anywhere else. But I think it makes sense because if the movements of a sonata da chiesa were ever played in church, they were played as voluntaries, and not Ordinary.
FWIW & YMMV.
JM
Of course, Oistrakh recorded a number of other Bach pieces, which are all secular, AFAIK (see below). I've never seen the C Major Sonata described as a religious work, but it's certainly an interesting idea.
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