Kremer: Bach Sonatas/Partitas for Violin - Philips 6769 053 (3 LPs, superb copy)

$

185

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ITEM DESCRIPTION:

This wonderful and rather uncommon 3LP box set – a beautiful collector's copy – from Philips (6769 053, Dutch pressing, red/white label, ADD stereo, original inner sleeves, full-size 4-page booklet, and 24-page A4-size facsimile score of Bach's original autograph manuscript included) preserves Gidon Kremer's extraordinary traversal of Bach's Sonatas and Partitas for Solo Violin BWV 1001-1006, recorded in The Netherlands in March 1980 not long after his arrival in the West. Indeed, the sound is of demonstration quality.

It should be noted that this copy includes the amazing 24-page facsimile score of Bach's original autograph manuscript, reproduced on A4-size heavy archival paper – is there another set with such a lavish bonus? It's certainly worthy of the artistry preserved here.

Although Kremer has recently redone these works – in magnificent fashion – for Manfred Eicher's ECM label, these earlier accounts remain very special, boasting a probity married to a stunning virtuosity and beauty of tone. The Gramophone's reviewer was not so kind – see below – but no matter. Even if they do not displace your favorite performances of these works, their fresh and telling insights will make one think anew, so individual and striking is the playing. They may be an acquired taste, but there's really nothing else quite like them

Wrote the eminent critic Nalen Anthoni in his review for the October 1981 issue of The Gramophone:
 

"Bach's fame as an organist is apt to make us forget that he was also at least an above average violinist and viola player. The Sonatas and Partitas (BWV1001-6) are preserved in a copy which Bach himself wrote out in 1720; in it each Sonata is followed by a Partita, a distinction being that the Sonatas, cast in the baroque da chiesa mould, do not include dance movements whilst the Partitas, more in da camera style, consist of well-contrasted dance sequences. Partitas furthermore remain anchored to a constant key signature whilst the Sonatas employ two keys in each case—one for the outer movements and another for the slow middle movement.

"It is hardly necessary, perhaps, for me to remark upon the formidable technique of this artist, but formidable it certainly is. Kremer's intonation is well nigh faultless, his bowing easy and relaxed, and his phrasing graceful. His tone, furthermore, which I have not always admired, either in previous recordings or in the concert hall, sounds warmer here; certainly it is most sympathetically captured in this new Philips recording. So far, so good, but of the interpretations themselves, as opposed to the technical brilliance of the performer, I feel less wholeheartedly committed. Kremer is never less than dazzlingly efficient but he is also inclined to be too mechanical in his despatch of fast movements. Add to this a certain aggression towards double stopping, which so many violinists seem to think is obligatory in making their mark upon the music, and one arrives at a total which strikes my ears as being wide of what Bach's intentions were. The Courante and its Double from the B minor Partita is a fair example of the first point whilst the fugal Allegro of the G minor Sonata affords an example of the'second. Kremer seems unwilling to endow the dance movements with any of their inherent dance character. Sarabandes are over severe and faster dances too often sound like limbering-up exercises, though admittedly spectacular. Kremer's apparent severity serves the character of the Sonatas rather better but even so the decided lack of rhythmic nuance and flexibility is a fundamental drawback of these interpretations.

"To sum up: although in respect of technical strength and tonal brilliance this new set outstrips many of its rivals in the catalogue, the interpretative limitations, or so they strike me, somewhat devalue those virtues. Kremer's account of the great C major Sonata with its monumental fugue is undeniably impressive and nowhere more than in his dazzling account of the finale, but I do not feel that he comes any closer to the spirit of this music than Felix Ayo does in his version (also on Philips), with a less virtuoso technique. In other words, Kremer's readings, though undoubtedly containing many virtues, fall short of what we might have expected from a violinist of this stature. A stimulating and thought-provoking issue which, on balance, will cause more pleasure than disappointment, I think."

CONDITION – PLEASE READ CAREFULLY:

The gradations of condition I use are as follows: MINT, Near-Mint, Excellent, Very Good, Good, Fair, Poor.

The condition of the box is near-MINT. Really, there is a slight bit of shelfwear, but that is all. Otherwise, the box appears almost as new. There are no seamsplits, bends, or other owners' markings and the whole remains perfectly solid, bright, glossy, and very striking in appearance – overall, this rates as a beautiful collector's copy.

The condtion of the full-size 4-page booklet is near-MINT. The pages remain bright and crisp. The notes are in English, French, and German.

The condition of the A4-size 24-page facsimile score of Bach's original autograph manuscript is near-MINT and there are no real flaws to speak of – it is free of bends, bumps, or tears and remains very striking in appearance.

The condition of the 3 LPs is near-MINT throughout. Visually, there are no spindle trails or other marks. I believe this is an unplayed set, though I cannot guarantee that. In any case, these are very fine copies and playback is truly superb – overall, lovely collector's copies.