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Bach: The Sonatas and Partitas for Violin Solo

Bach: The Sonatas and Partitas for Violin Solo

John Holloway

Duration133 Min

Johann Sebastian Bach

Sonata No. 1 for Solo Violin in G Minor, BWV 1001

Johann Sebastian Bach

Partita No. 1 for Solo Violin in B Minor, BWV 1002

Johann Sebastian Bach

Sonata No. 2 for Solo Violin in A Minor, BWV 1003

Johann Sebastian Bach

Partita No. 2 for Solo Violin in D Minor, BWV 1004

Johann Sebastian Bach

Sonata No. 3 for Solo Violin in C Major, BWV 1005

Johann Sebastian Bach

Partita No. 3 for Solo Violin in E Major, BWV 1006

Album insights

Ravel's songs are possibly the least recognized genre within his complete works. There seems to be a mystery surrounding this lack of recognition, potentially because Ravel never repeated himself, hence there isn't a typical Ravel song. While this notion applies to his other genres as well, could it be that music enthusiasts tend to appreciate songs more when they are slightly predictable? Regardless, these songs can conveniently be categorized as "Folk Songs" and "Art Songs". Ravels proclaimed that if one has nothing to say, it's best to repeat what has already been well said; however, true expression is seen in unintentionally adhering to the model. Folk song compositions allow little room for deviation, demanding meticulous fidelity.

In the 1890s, Ravel set various Corsican folk songs to music, but it was not until February 1904 that he ventured into similar works. A friend, the critic M. D. Calvocoressi, commissioned him to set six songs for a recital titled "The Songs of Oppressed Peoples - Greeks and Armenians". Despite the originals feeling insufficient due to sparse harmonies and numerous empty fifths, Ravel's creativity shone. In Quel galant m’est comparable?, he skillfully avoided the Aeolian mode by tonally treating it in G Major. In Chanson des cueilleuses de lentisques, the song's melody and accompaniment were characterized by Lydian modes. The former worker girls in the song indeed faced challenges, as dealing with the pale yellow resin of the Pistacia lentiscus plant must have been less than ideal for their pursuit of a "blonde angel."

Ravel's next set of folk songs emerged in 1910, composed for a competition organized by the House of Song in Moscow. The four Chants populaires, released the following year, earned him awards. One of the songs, Chanson écossaise, was reconstructed by American researcher Arbie Orenstein, while the Chanson française exuded naturalness and avoided sentimentality, reflecting the Limoges region's melody and text. Additionally, the hypnotic rhythms of Chanson hébraïque revealed Ravel's penchant for monotony, while Chanson italienne portrayed his admiration for Puccini. The Chanson écossaise adorned with subtle bagpipes, possibly Breton binious, was a delightful touch post his 1911 journey to Scotland.

Success with Chanson hébraïque prompted a 1914 request from opera soprano Alvina Alvi in St. Petersburg for two additional Hebrew melodies harmonization. Kaddisch and L’énigme éternelle showcased controlled ecstasy and structured tension, respectively. Each work depicted aspects of Ravel's own struggles with faith and the eternal mysteries of life.

An honest evaluation of Ravel's artistry must confront its darker aspects, as seen in his compositions oscillating between deep melancholy and structured 18th-century elegance. Ronsard à son âme from 1924 exemplified Ravel's refined simplicity and musical maturity, evidenced in his favorite song, which he could perform while holding a cigarette. This pensive piece mirrored a reflection on himself, or perhaps French poet Ronsard, blending classic ideals with precise tonal structures.

Ravel's final series, Don Quichotte à Dulcinée, commissioned for a film featuring the Spanish knight Don Quixote, encapsulated different facets of Don's character through specific dance rhythms. The intentional pairing of dance forms with Don's romantic, heroic, and jovial personas showcased Ravel's meticulous musical choices and sharp attention to character detail.

Through compositions ranging from the eerie Un grand sommeil noir to the exuberant finale of Don Quichotte à Dulcinée — "Je bois / À la joie" — Ravel's songs encapsulate a diverse and evocative musical landscape.