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| Bach: Complete Sonatas and Partitas for Solo Violin | 
 enlarge | Creators: Johann Sebastian Bach, Arthur Grumiaux
Label: Philips
Category: Music
List Price: $17.98
Buy New: $9.90
You Save: $8.08 (45%)
Buy New/Used from $8.50
Avg. Customer Rating:  (25 reviews)
Sales Rank: 6239
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.3
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 438736
UPC: 028943873628
EAN: 0028943873628
ASIN: B00000417N
Release Date: February 15, 1994
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Sonata No. 1 in G minor, BWV 1001: Adagio | | • | Sonata No. 1 in G minor, BWV 1001: Fuga (Allegro) | | • | Sonata No. 1 in G minor, BWV 1001: Siciliana | | • | Sonata No. 1 in G minor, BWV 1001: Presto | | • | Partita No. 1 in B minor, BWV 1002: Allemanda | | • | Partita No. 1 in B minor, BWV 1002: Double | | • | Partita No. 1 in B minor, BWV 1002: Corrente | | • | Partita No. 1 in B minor, BWV 1002: Double (Presto) | | • | Partita No. 1 in B minor, BWV 1002: Sarabande | | • | Partita No. 1 in B minor, BWV 1002: Double | | • | Partita No. 1 in B minor, BWV 1002: Tempo di Borea | | • | Double | | • | Sonata No. 2 in A minor, BWV 1003: Grave | | • | Sonata No. 2 in A minor, BWV 1003: Fuga | | • | Sonata No. 2 in A minor, BWV 1003: Andante | | • | Sonata No. 2 in A minor, BWV 1003: Allegro |
Disc 2
| • | Partita No. 2 in D minor, BWV 1004: Allamanda | | • | Partita No. 2 in D minor, BWV 1004: Corrente | | • | Partita No. 2 in D minor, BWV 1004: Sarabande | | • | Partita No. 2 in D minor, BWV 1004: Giga | | • | Partita No. 2 in D minor, BWV 1004: Ciaccona | | • | Sonata No. 3 in C, BWV 1005: Adagio | | • | Sonata No. 3 in C, BWV 1005: Fuga | | • | Sonata No. 3 in C, BWV 1005: Largo | | • | Sonata No. 3 in C, BWV 1005: Allegro Assai | | • | Partita No. 3 in E, BWV 1006: Preludio | | • | Partita No. 3 in E, BWV 1006: Loure | | • | Partita No. 3 in E, BWV 1006: Gavotte en Rondeau | | • | Partita No. 3 in E, BWV 1006: Menuet I-II | | • | Partita No. 3 in E, BWV 1006: Bourre'e | | • | Partita No. 3 in E, BWV 1006: Gigue |
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| Editorial Reviews:
Amazon.com essential recording
Arthur Grumiaux was among the most elegant and refined violinists who ever recorded. This doesn't preclude his playing the famous Chaconne with lots of power, which he does. But it means hearing Bach with all technical difficulties minimized to give you a clear view of the music. Sometimes, as in Joseph Szigeti's late recordings (Vanguard Classics OVC 8021/2), there is a sense of struggle between the violin and the music that for more dramatic Bach. Grumiaux allows you to hear everything Bach put into the music, and it all sounds beautiful. --Leslie Gerber
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| Customer Reviews: Read 20 more reviews...
Bach Sonatas and Partitias for Solo Violin January 12, 2008
0 out of 2 found this review helpful
The CD arrived within the promised time and had no defects. My son has been enjoying it very much - I sent it to him for Christmas.
Beautiful! January 1, 2008
A wonderful recording of some great compositions. Both disks are full to the brim with music that relaxes and inspires.
 Over-hyped. September 16, 2007
2 out of 6 found this review helpful
In many movements, Bach used binary structures, that is (A)-(A/A')-(B)-(B/B') but most historical recordings don't follow this strictly. probably, it is due to limited playing time of the vinyl record (at best 32 minutes on one side) or the violinist's own decision. Grumiaux, he played like this; (A)-(A/A')-(B/B'). Milstein almost completely omitted repeats. So you better check the running time of a CD before you purchase it. When executed with repeats, these works last more than 140 minutes in total. Good examples are Rachel Podger(144min) and Julia Fischer(150min).
I prefer complete version to half-played one. (This is why I don't like Glenn Gould's Goldberg Variations.To me, it sounds like a collection of preview snippets.)
Speaking of his playing, it is just mediocre by my standard. He plays like he just got scores in his hands. Lack of depth is overall impression. His tone is mostly harsh and one dimentional. Did he study these demanding works for a long period? I doubt it.
He doesn't know how to approach different movements with different view. Listen to slow movements. No grace or warmth can be found. He has no clue how to build and release tension.(Partita No. 2-V. Ciaconna)
His tempi are odd at times. Adagio is like quasi-Andante, changes in tempo are artifical.(in all 3 Fugas) And he doesn't know how to use dynamics effectively.(Sontata No.2-II Fuga) Can you tell the difference between measures played piano and forte? They say Grumiaux didn't put much of his personality, but listen to what he did on Partita No. 1-II. Corrente. It sounds really odd with uncalled-for accents.
Grumiaux and Bach August 31, 2006
8 out of 8 found this review helpful
I originally ordered Heifetz playing Bach's sonatas and partitas because I was learning the Chaconne, but because it was going to take a month to arrive, I ordered Grumiaux in the meantime. I have been so pleased with Grumiaux' smooth tone, his vibrato (never too much), his flawless chords, and his near perfect intonation, that although my Heifetz recording has since arrived, I still listen to Grumiaux much more.
My old favourite June 28, 2006
10 out of 11 found this review helpful
These works are, for me, the highest possible achievement of violin music, and rank alongside the Cello Suites and the Well-Tempered Clavier as Bach's most meditative, introspective and spiritually profound works. They take you through a whole range of emotions and moods, and probably not coincidentally, like the Cello Suites, they end on a bright note, almost like the light of heaven shining down on you. Listening to the fugal movements is like being in a private cathedral of sound. And I say this without being a religious person in any way - this music is more personally spiritual, without being necessarily 'religious', like so many of Bach's vocal works.
I first heard these works performed by Menuhin (like Grumiaux, a student of Enescu), and though I retain a fondness for his recordings, I think Grumiaux's version is, all around, the best. I do agree with some of the other reviewers that Milstein can give a bit more passion, and I particularly like how the lower parts of the counterpoint are often more audible in Milstein (for instance, in the beginning bars of the D-Major section of the Chaconne - which is less accented in the Grumiaux), but I personally don't like Milstein's steely tone that much, and Bach sometimes sounds too much like hard work in his versions. In contrast, Grumiaux's tone is much warmer, I find, though he can put on the power very well whenever it's needed, and his playing is so effortless, one is able to really appreciate the beauty and profundity of Bach's works.
I'm very partial to period interpretations normally, and having now acquired Rachel Podger's recordings, I prefer those in many aspects; but on the whole, I find Grumiaux better than the other 'authentic' performance I've heard, that of Kuijken. Grumiaux IS old-fashioned, but he avoids the excesses of most of the others of his generation (even Menuhin takes some movements - like the third of the G-Minor - so slowly, it's impossible to remember it's a dance-movement!), and plays something that seems, to me, to be very much something in the spirit of Bach, even if not entirely 'authentic'. As Manze has said, there's nothing intrinsically wrong with playing Bach on modern instruments - the music is truly universal! Even though on a few points here and there I do prefer other recordings, overall, I find Grumiaux's is simply the best - and I think definitely the best introduction to this awe-inspiring music.
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