Bach by - Sonatas Partitas, Chaconne for solo violin NEW MASTERING (Centurys record)

00:00 Sonata No.1 in G minor, BWV 1001 - I. Adagio 04:19 Sonata No.1 in G minor, BWV 1001 - II. Fuga, Allegro 09:07 Sonata No.1 in G minor, BWV 1001 - III. Siciliana 12:33 Sonata No.1 in G minor, BWV 1001 - IV. Presto 14:52 Partita No.1 in B minor, BWV 1002 - I. Allemanda 19:09 Partita No.1 in B minor, BWV 1002 - II. Double 21:00 Partita No.1 in B minor, BWV 1002 - III. Corrente 23:13 Partita No.1 in B minor, BWV 1002 - IV. Double Presto 25:32 Partita No.1 in B minor, BWV 1002 - V. Sarabande 27:43 Partita No.1 in B minor, BWV 1002 - VI. Double 29:32 Partita No.1 in B minor, BWV 1002 - VII. Bourée 31:48 Partita No.1 in B minor, BWV 1002 - VIII. Double 33:42 Sonata No.2 in A minor, BWV 1003 - I. Grave 37:52 Sonata No.2 in A minor, BWV 1003 - II. Fuga 45:01 Sonata No.2 in A minor, BWV 1003 - III. Andante 50:26 Sonata No.2 in A minor, BWV 1003 - IV. Allegro 54:20 Partita No.2 in D minor, BWV 1004 - I. Allemanda 56:19 Partita No.2 in D minor, BWV 1004 - II. Corrente 57:54 Partita No.2 in D minor, BWV 1004 - III. Sarabanda 1:00:54 Partita No.2 in D minor, BWV 1004 - IV. Giga 1:02:45 Partita No.2 in D minor, BWV 1004 - Chaccone 1:16:33 Sonata No.3 in C major, BWV 1005 - I. Adagio 1:21:29 Sonata No.3 in C major, BWV 1005 - II. Fuga 1:30:46 Sonata No.3 in C major, BWV 1005 - III. Largo 1:34:30 Sonata No.3 in C major, BWV 1005 - IV. Allegro assai 1:37:41 Partita No.3 in E major, BWV 1006 - I. Preludio 1:40:53 Partita No.3 in E major, BWV 1006 - II. Lourde 1:44:21 Partita No.3 in E major, BWV 1006 - III. Gavotte en rondo 1:47:18 Partita No.3 in E major, BWV 1006 - IV. Menuet 1 1:49:05 Partita No.3 in E major, BWV 1006 - V. Menuet 2 1:50:44 Partita No.3 in E major, BWV 1006 - VI. Bourée 1:52:15 Partita No.3 in E major, BWV 1006 - Violin : Nathan Milstein Recorded in 1954-56 New Mastering in 2020 by AB for CMRR. “Bach’s Sonatas and Partitas for solo violin offer the performer the opportunity to approach the most enchanting light,“ noted Milstein.“ And yet for a long time they had difficulty gaining acceptance.“ By the time Milstein began his international career, the Sonatas and Partitas occupied a significant place in his particularly selective repertoire. His solo recitals usually included at least one movement from one of them, and even in his orchestral appearances he frequently played a movement from one as an encore. This habit, which has become a tradition, goes back to a 1934 concert at the Leipzig Gewandhaus, in which Milstein followed Tchaikovsky’s Violin Concerto with the entire G minor Sonata. The conductor, Bruno Walter, had suggested Bach as an encore, and Milstein, enthralled by the idea of playing Bach in Leipzig and in this hall, played the Adagio, but could not stop until he had finished the Sonata. (...) Milstein put so much nobility and commitment into championing the Sonatas and Partitas that they became an essential part of the repertoire of all serious violinists.