"I play the notes as they are written, but it is God who makes the music."
-Johann Sebastian Bach
Entry #32 on the list of the top 50 classical recordings of all-time is Johann Sebastian Bach’s Sonatas and Partitas for Violin Solo (BWV 1001-1006) played by the violinist Nathan Milstein recorded by Deustche Grammophon in 1973 and released on LP in 1975. Now part of DG’s “The Originals” series, the recording has secured a place as one of the greatest Bach recordings of all-time.
The Composer
In the interest of not repeating myself too often, if you would like to read more information about Johann Sebastian Bach (b. 1685 - d. 1750), I refer you to entry #21 on our list published a few months ago when I reviewed a recording of Bach’s Brandenburg Concertos. Here is the link to that review:
The Sonatas and Partitas for Solo Violin
J.S. Bach wrote so many masterpieces for keyboard such as the Goldberg Variations, The Well-Tempered Clavier, The English Suites, The French Suites, Inventions and Sinfonias, and Partitas that we sometimes forget Bach himself was also a virtuoso violinist and composed equally well for string instruments. Bach’s own son Carl Philip Emanuel Bach remembered his father “In his youth, and until the approach of old age, he played the violin cleanly and penetratingly…he understood to perfection the possibilities of all stringed instruments.” Among his most famous works are the Sonatas and Partitas for Solo Violin (Bach’s own title was Six Solos for Violin Without Bass Accompaniment).
The Sonatas and Partitas for Solo Violin BWV 1001-1006 are a set of three sonatas and three partitas played by a solo violinist. First published in 1720, it is unknown whether Bach wrote them for himself or for accomplished violinist friends. These works are all the more notable since Bach was a master of counterpoint with multiple musical lines playing simultaneously providing harmonic unity and divergence. Using multiple instruments makes counterpoint easier. In these works, the solo violin is also often asked to play more than one line, creating works that are extremely demanding for the soloist. Such is the writing that at times it sounds as though more than one instrument is playing.
The three sonatas are in a form known as “sonatas da chiesa” (sonatas from church), in four movements with the pattern slow - fast - slow - fast. Bach even includes fugues in these movements, which is a large contrapuntal structure using one theme which is then built upon with ever-increasing complexity. The three partitas, also called suites or dance movements, tend to be more free-flowing and rhythmic. Bach has between five and seven movements in each of these partitas. The Chaconne that ends Partita no. 2 in D minor runs for 13-14+ minutes, and is considered one of the great violin monuments ever written in the history of Western classical music. It is unknown whether these pieces were played during Bach’s own lifetime.
Bach used a lot of appogiaturas in these works. An appogiatura (from the Italian appoggiare “to lean upon”) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord. By putting the non-chord tone on a strong beat, (typically the first or third beats of the measure, in 4/4 time) this accents the appoggiatura note, which also delays the appearance of the principal, expected chord note. There are also a large number of double-stops, which are when the violin plays two notes at the same time creating a chord. Playing styles have changed over the years as well which you can hear on the recordings, with some older violinists using more vibrato (a slightly tremulous effect imparted to vocal or instrumental tone for added warmth and expressiveness by slight and rapid variations in pitch) reflecting perhaps a more romantic view. The use of slurs between notes also varies (slurring notes is when the musician plays the notes “legato” or without separation). Some soloists use more or less slurs depending on their own interpretative vision, regardless of what the composer intended.
These works, especially the four written in a minor key, reflect a stark sound world of drama, melancholy, mystery, and intensity. They are not really for dinner party light background music, but rather require more attention and meditation. The sonatas are the darker sounding, with the partitas being more regal and nimble. In fact, in my opinion they work quite well at centering the mind and heart, and for simply marveling at the glory of Bach’s writing. Composers such as Bartok, Ysaye, and Paganini would later use Bach’s as a model for their own works. The Sonatas and Partitas have also been transcribed for keyboard and mandolin.
The Recording
The list of violinists that have recorded the Sonatas and Partitas for Solo Violin is a veritable who’s who of the greatest violinists in history, and some have recorded them multiple times. There is no shortage of outstanding recordings, both on the modern violin and on the baroque violin. Personally, I prefer a modern violin, but some of the best recordings are on baroque violin. Some will come down to personal taste. There are recordings of vastly different timings and styles, all of which have their merits. A few violinists scrape pretty hard at some of the chords, which can create sounds that may be a bit harsh. Others are smoother, but perhaps miss some of the emotion.
First, I want to mention some recordings that, for me, miss the mark a bit. Again, it will depend on your taste. But on modern violin, the three recordings by Christian Tetzlaff, while tremendously accomplished technically, for me lack some emotion and his most recent recording has a “steely” edge to it that grates with repeated listening. One of the best young violinists today, Augustin Hadelich, recently put out an acclaimed recording of the Sonatas and Partitas also on a modern violin. I find Hadelich outstanding, but perhaps without enough character. For me, the interpretation is rather bland. Pavlo Beznosiuk on baroque violin achieves a dark tone with some stunning playing, but I don’t care for the somewhat recessed sound and at times the pace is slowed down too much for my tastes. Legendary violinist Henryk Szeryng is perhaps too indulgent and heavy, although there is no doubting his unique vision of these works which will appeal to some. But these are all nitpicking comments to be sure.
The recording which rises to the top is Nathan Milstein’s second traversal recorded in 1973 by Deutsche Grammophon. Milstein’s approach has been characterized as “elegant”, “refined”, and “flawless”. Adjectives fail at times to really capture how a recording makes you feel, however, and one of Milstein’s objectives throughout his career was to “not get in the way” of the composer. This quality of getting to the heart of the music characterizes all of Milstein’s recordings, along with his dazzling technique and easy virtuosity.
Nathan Mironovich Milstein (b. 1904 - d. 1992) was a Jewish-American violinist, born in the Russian empire. He had a very long career, only retiring well into his 80s. After hearing a concert by the 11-year old Jascha Heifetz, Milstein embarked on studying the violin. He would eventually be taught by legendary violinist and teacher Leopold Auer at St. Petersburg Conservatory. As Milstein later recalled: “Every little boy who had the dream of playing better than the other boy wanted to go to Auer. He was a very gifted man and a good teacher. I used to go to the Conservatory twice a week for classes. I played every lesson with forty or fifty people sitting and listening. Two pianos were in the classroom and a pianist accompanied us. When Auer was sick, he would ask me to come to his home.”
Milstein may have been one of the last pupils of Auer to go on to fame. Milstein met the pianist Vladimir Horowitz in 1921 in Kiev. They would go on to form a lifelong friendship, and would often perform together. Milstein made his U.S. debut with the Philadelphia Orchestra under Leopold Stokowski in 1929, thereafter settling in New York City and becoming an American citizen. Milstein was obsessed with playing each note, and with clean articulation. He would practice and experiment with different fingering and bowing techniques throughout his life. Always interested in continuing to develop as a musician, Milstein would later become somewhat of a pioneer in playing the music of Bach with an intellectual honesty that respected how Bach may have heard a violin played in his time. This corresponded with the larger historically informed movement at the time, reconsidering the playing style of Baroque and Classical composers. However, Milstein still often maintained his “legato” style of phrasing, even in Bach. This was consistent with how he was trained, along with many of the greatest Russian violinists of his generation.
In 1945, Milstein met the violin that he would play the rest of his life, the 1716 "Goldman" Stradivarius. Interestingly, he renamed this Stradivarius the "Maria Teresa" in honor of his daughter Maria (presently wife of Marchese GiovanAngelo Theodoli-Braschi, Duke of Nemi and Grandee of Spain, descendant from Pope Pius VI) and his wife Therese. Also an early pioneer of recordings, Milstein did not record quite as much as some of his peers, but the ones he made are high quality performances.
Mistein had recorded Bach’s Sonatas and Partitas previously for EMI from 1954-1956. Some listeners still prefer this earlier recording, with marginally more use of vibrato and with decidedly less impressive sound. While still a great set that should be heard, it is not on the same level as his second set. On the second set we are reviewing here from 1973 on Deutsche Grammophon, the sound is much improved. But Mistein’s style had also changed to use slightly less vibrato, and he takes broader speeds in some movements than his first recording.
The qualities I like most about Milstein’s second recording for DG are:
Milstein’s ability to add color in subtle but revealing ways;
Milstein’s use of less vibrato overall, but still using some vibrato in a judicious way when it seems to add something;
Speeds are neither too fast nor too slow, but make sense throughout;
Milstein seems to know when to push and when to back off, so his use of dynamics is keen. It is clear how Milstein’s many years of study of these scores have paid off with fresh perspectives, but also maintaining fidelity to the score;
The recorded sound, from my perspective, is full and realistic.
Deutsche Grammophon rightly reissued this set as part of its “Originals” series of legendary recordings. For me, this is the tour de force of Milstein’s recorded legacy.
Other recommended recordings
As stated, there are many outstanding recordings of Bach’s Sonatas and Partitas. Below are a few of my other favorites:
Canadian violinist James Ehnes in his second commercial recording made just in 2021 on the Onyx label. Ehnes is thoughtful and produces a burnished, golden tone throughout with many enjoyable insights along the way. I like how Ehnes brings out the counterpoint in Bach’s writing, at times by taking slightly slower tempos. Both of Ehnes’ recordings are very fine, but the slight edge goes to this most recent one. Clear, warm sound.
Recorded in 1960-1961, the set by Arthur Grumiaux on Philips remains essential for Bach lovers. A middle-of-the-road reading in terms of tempi and vibrato, this has a lot in common with Milstein’s reading interpretively. The real highlight for me is Grumiaux’s well-known burnished tone, which he was famous for producing. The sound is very good for the time.
On baroque violin comes one of the very best recordings by Rachel Podger, released in 2002 on Channel Classics. My worries about the baroque violin sounding steely or harsh were quickly dispensed here. Podger is a baroque specialist, and although tempi are marginally quicker here and there, the overall conception is very satisfying and rewards repeated listening. Podger uses little vibrato as you would expect, but there is no loss of beauty in her tone. Enjoyable.
Isabelle Faust, also on baroque violin, is never less than thought provoking and original in her interpretation. On the Harmonia Mundi label, this is also one of the quickest traversals on record, and at times perhaps a bit too quick for me. But this is playing of the highest order, an outstanding set you should hear.
Hilary Hahn who made quite a mark as a very young star, is absolutely brilliant on her Bach albums. She has a modern violin, and uses vibrato generously when called for, and produces an amazing tone. Part of the Sonatas and Partitas seem to be on Sony Classical, while the rest are on Decca. No matter, these are performances of great assurance, vision, and virtuosity. I am a big fan.
Chris Thile on Nonesuch Records achieved a big hit in this 2013 release by playing the Sonatas and Partitas on mandolin. It is hugely enjoyable to hear, and the mandolin certainly gives the music a different feel, while you still know you are listening to Bach. Highly recommended.
Last, but certainly not least, is Johanna Martzy in a classic recording from 1954-1955. The recording is now on the Profil label, and can be found in various incarnations on CD. Slower than most, this is a broad interpretation that wraps its arms around you. A heartfelt, warm, and unique interpretation. Excellent sound. I recommend that you hear it.
Thank you for reading as always, and have a great week!
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Notes:
Auer, Leopold, My Long Life in Music, 343–344.
High Fidelity, November 1977, 84, 86.
Kozinn, Allan. The New York Times Essential Library Classical Music, A Critic’s Guide to the 100 Most Important Recordings. Pp. 32-34. Times Books. Henry Holt and Company. New York. 2004.
Schonberg, Harold C., THE NEW YORK TIMES, 22 Dec., 1992
https://www.theguardian.com/music/2013/sep/15/isabelle-faust-violin-musical-sleuth-interview
https://en.wikipedia.org/wiki/Appoggiatura
https://en.wikipedia.org/wiki/Johann_Sebastian_Bach
https://kidadl.com/quotes/best-johann-sebastian-bach-quotes-from-the-famous-german-composer
https://en.wikipedia.org/wiki/Sonatas_and_Partitas_for_Solo_Violin_(Bach)