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Pavlo Beznosiuk - J.S. Bach: Sonatas & Partitas for Solo Violin (2011) Hi-Res

Pavlo Beznosiuk - J.S. Bach: Sonatas & Partitas for Solo Violin (2011) Hi-Res

BAND/ARTIST: Pavlo Beznosiuk

  • Title: J.S. Bach: Sonatas & Partitas for Solo Violin
  • Year Of Release: 2011
  • Label: Linn Records
  • Genre: Classical
  • Quality: FLAC (tracks) 24/88.2
  • Total Time: 02:27:59
  • Total Size: 3 Gb
  • WebSite:
Tracklist:

CD 1:
Sonata No. I in G minor, BWV 1001
1 Adagio 4.06
2 Fugue (Allegro) 6.01
3 Siciliana 3.21
4 Presto 4.19
Partita No. II in D minor, BWV 1004
5 Allemanda 5.22
6 Corrente 2.59
7 Sarabanda 4.22
8 Giga 4.42
9 Ciaccona 13.23
Sonata No. III in C Major, BWV 1005
10 Adagio 3.52
11 Fugue 11.41
12 Largo 3.12
13 Allegro assai 6.05

CD 2:
Partita No. I in B minor, BWV 1002
14 Allemanda 5.51
15 Double 2.43
16 Corrente 3.47
17 Double 4.11
18 Sarabande 3.55
19 Double 2.44
20 Tempo di Borea 3.36
21 Double 3.37
Sonata No. II in A minor, BWV 1003
22 Grave 3.49
23 Fugue 8.26
24 Andante 5.26
25 Allegro 6.16
Partita No. III in E Major, BWV 1006
26 Prelude 4.17
27 Loure 3.48
28 Gavotte en rondeau 3.30
29 Minuet I & II 4.18
30 Bourée 1.43
31 Gigue 2.02
32 Bonus track. Toccata and Fugue in A minor, after Bach BWV 565. 9.11

Performers:
Pavlo Beznosiuk, violin

With no shortage to choose from, it's easy to imagine why listeners might be overwhelmed when choosing a recording of Bach's Sonatas & Partitas for Solo Violin. Countless violinists have recorded the seminal works, some numerous times, on different styles of violins, in different venues each offering unique sound qualities. Baroque violinist Pavlo Beznosiuk throws his hat into the ring with this 2011 Linn Records set. Beznosiuk describes his playing of Bach not so much as interpretation -- which he terms irrelevant -- but as a real-time dialogue with the composer. To this end, Beznosiuk's playing does seem very conversational, even drawing listeners into the discourse. For those listeners who might think that interpretation is a very real concern, Beznosiuk's playing -- particularly in slower movements -- can come across as a bit stodgy and lethargic. His effortless technique shines through in the much more animated, vivacious fast movements. Recorded in a 19th century church, the recorded sound quality may be off-putting to some listeners. It is filled with abundant reverberation, yielding a very distant, hazy sound. The chief result of this is a lack of definition in Beznosiuk's playing, making individual notes bleed together the faster and more complex the score gets. If we are really to appreciate this set as a dialogue with Bach, would we not want to clearly hear the conversation?





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