In this 1720 score, Johann Sebastian Bach laid the foundation that would shape the future of the violin in Western music. While building on the contributions of earlier composers, his meticulous craftsmanship-a true compendium of the instrument's virtues-and his vision in terms of musical conception and performance render these Six Sonatas and Partitas for solo violin a cornerstone. No self-respecting violinist can ignore them, as they serve both as a fundamental study and a lofty aspiration. There is no separation between the performer and the music; their expressive power and technical demands require a lifelong dedication. This is exactly what the excellent violinist Gisella Curtolo tells us: In Spanish, grabar means to leave a mark on a surface, on stone... on a CD. It is something lasting, like a "sculpture of sounds." It is a way to communicate the culmination of our journey, akin to scaling a mountain and reaching the summit, achieving something "epic" that we have been carefully preparing and envisioning year after year. There comes a moment in musicians' life when they feel like the right time to "record" what they have been playing, teaching, and perfecting for many years. This is how I felt as I approached the recording of this immense masterpiece, one of the pillars of the repertoire for violinists of the past, present, and surely the future.
2 Sonata No. 1 in G Minor, BWV 1001~II. Fuga: Allegro
3 Sonata No. 1 in G Minor, BWV 1001~III. Siciliana
4 Sonata No. 1 in G Minor, BWV 1001~IV. Presto
5 Partita No. 1 in B Minor, BWV 1002~I. Allemanda
6 Partita No. 1 in B Minor, BWV 1002~II. Double
7 Partita No. 1 in B Minor, BWV 1002~III. Corrente
8 Partita No. 1 in B Minor, BWV 1002~IV. Double: Presto
9 Partita No. 1 in B Minor, BWV 1002~V. Sarabande
10 Partita No. 1 in B Minor, BWV 1002~VI. Double
11 Partita No. 1 in B Minor, BWV 1002~VII. Tempo di Borea
12 Partita No. 1 in B Minor, BWV 1002~VIII. Double
13 Sonata No. 2 in A Minor, BWV 1003~I. Grave
14 Sonata No. 2 in A Minor, BWV 1003~II. Fuga
15 Sonata No. 2 in A Minor, BWV 1003~III. Andate
16 Sonata No. 2 in A Minor, BWV 1003~IV. Allegro
- Disc 2 -
1 Partita No. 2 in D Minor, BWV 1004~I. Allemanda
2 Partita No. 2 in D Minor, BWV 1004~II. Corrente
3 Partita No. 2 in D Minor, BWV 1004~III. Sarabanda
4 Partita No. 2 in D Minor, BWV 1004~IV. Giga
5 Partita No. 2 in D Minor, BWV 1004~V. Ciaccona
6 Sonata No. 3 in C Major, BWV 1005~I. Adagio
7 Sonata No. 3 in C Major, BWV 1005~II. Fuga
8 Sonata No. 3 in C Major, BWV 1005~III. Largo
9 Sonata No. 3 in C Major, BWV 1005~IV. Allegro assai
10 Partita No. 3 in E Major, BWV 1006~I. Preludio
11 Partita No. 3 in E Major, BWV 1006~II. Loure
12 Partita No. 3 in E Major, BWV 1006~III. Gavotte en Rondeau
13 Partita No. 3 in E Major, BWV 1006~IV. Menuet I
14 Partita No. 3 in E Major, BWV 1006~V. Menuet II
15 Partita No. 3 in E Major, BWV 1006~V. Bourée
16 Partita No. 3 in E Major, BWV 1006~VI. Gigue
In this 1720 score, Johann Sebastian Bach laid the foundation that would shape the future of the violin in Western music. While building on the contributions of earlier composers, his meticulous craftsmanship-a true compendium of the instrument's virtues-and his vision in terms of musical conception and performance render these Six Sonatas and Partitas for solo violin a cornerstone. No self-respecting violinist can ignore them, as they serve both as a fundamental study and a lofty aspiration. There is no separation between the performer and the music; their expressive power and technical demands require a lifelong dedication. This is exactly what the excellent violinist Gisella Curtolo tells us: In Spanish, grabar means to leave a mark on a surface, on stone... on a CD. It is something lasting, like a "sculpture of sounds." It is a way to communicate the culmination of our journey, akin to scaling a mountain and reaching the summit, achieving something "epic" that we have been carefully preparing and envisioning year after year. There comes a moment in musicians' life when they feel like the right time to "record" what they have been playing, teaching, and perfecting for many years. This is how I felt as I approached the recording of this immense masterpiece, one of the pillars of the repertoire for violinists of the past, present, and surely the future.
