Корзина пуста
Milstein’s interpretation of these difficult works is at once brilliant and satisfying – although because of its very brilliance it is not perhaps as deeply satisfying as Johanna Martzy’s. It depends rather on what you imagine to be the ideal surroundings for a performance: a public recital or your own room. The music itself seems to me capable of supporting both interpretations, for it combines the rhetoric of extreme technical difficulty with a richness of detail that seems to call for more intimacy than a recital-hall can give us. Perhaps the ideal performance would retain Martzy’s inwardness, but infuse it with a little of Milstein’s sheer physical vigour and impact. For him the technical difficulties hardly seem to exist, or rather, exist only as a stimulus to bravura; by her they are accepted as an essential, organic part of the music, a result of the complexity of Bach’s thought. I suppose one could generalize on the masculine and feminine approaches to music with this as one’s text, but I don’t feel tempted to do so. Nor do I feel tempted to plump dogmatically for one or the other as “best available version”. Both are exceptionally distin-guished presentations of music that is not nearly as austere as its reputation might suggest. I do suggest, though, that before buying either set it might be a good idea to sample both. Gramophone
Track List:
Side 1
Sonata No. 1 In G Minor, BWV 1001
1. Adagio
2. Fuga. Allegro
3. Sicilana
4. Presto
Side 2
Partita No. 1 In B Minor, BWV 1002
1. Allemanda
2. Double
3. Corrente
4. Double. Presto
5. Sarabanda
6. Double
7. Tempo Di Borea
8. Double
Side 3
Sonata No. 2 In A Minor, BWV 1003
1. Grave
2. Fuga
3. Andante
4. Allegro
Side 4
Partita No. 2 In D Minor, BWV 1004
1. Allemanda
2. Corrente
3. Sarabanda
4. Giga
5. Ciaccona
Side 5
Sonata No. 3 In C Major, BWV 1005
1. Adagio
2. Fuga
3. Largo
4. Allegro Assai
Side 6
Partita No. 3 In E Major, BWV 1006
1. Preludio
2. Loure
3. Gavotte En Rondeau
4. Menuet I
5. Menuet II - Menuet I Da Capo
6. Bourrée
