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"Masterful." - ClassicsToday
"Stunningly good performances, very well recorded." - Gramophone
"One of the best. A must-have disc." - Musicweb International
Personnel:
Arthur Grumiaux: violin
Egida Giordani Sartori: harpsichord (CD 2, tracks 11-18)
Recording:
Nov. 1960 (BWV 1001, 1006)
Feb. 1961 (BWV 1002, 1005)
Mar. 1961 (BWV 1003, 1004)
June 1963 (BWV 1016, 1017)
Philips 464 673-2
Track listing:
CD 1
1. Sonata No.1 in g, BWV 1001: I. Adagio
2. Sonata No.1 in g, BWV 1001: II. Fuga: Allegro
3. Sonata No.1 in g, BWV 1001: III. Siciliano
4. Sonata No.1 in g, BWV 1001: IV. Presto
5. Partita No.1 in b, BWV 1002: I. Allemande
6. Partita No.1 in b, BWV 1002: II. Double
7. Partita No.1 in b, BWV 1002: III. Courante
8. Partita No.1 in b, BWV 1002: IV. Double: Presto
9. Partita No.1 in b, BWV 1002: V. Sarabande
10. Partita No.1 in b, BWV 1002: VI. Double
11. Partita No.1 in b, BWV 1002: VII. Tempo Di Bourree
12. Partita No.1 in b, BWV 1002: VIII. Double
13. Sonata No.2 in a, BWV 1003: I. Grave
14. Sonata No.2 in a, BWV 1003: II. Fuga
15. Sonata No.2 in a, BWV 1003: III. Andante
16. Sonata No.2 in a, BWV 1003: IV. Allegro
17. Partita No.2 in d, BWV 1004: I. Allemande
18. Partita No.2 in d, BWV 1004: II. Courante
19. Partita No.2 in d, BWV 1004: III. Sarabande
20. Partita No.2 in d, BWV 1004: IV. Gigue
21. Partita No.2 in d, BWV 1004: V. Chaconne
CD 2
1. Sonata No.3 in C, BWV 1005: I. Adagio
2. Sonata No.3 in C, BWV 1005: II. Fuga
3. Sonata No.3 in C, BWV 1005: III. Largo
4. Sonata No.3 in C, BWV 1005: IV. Allegro Assai
5. Partita No.3 in E, BWV 1006: I. Prld
6. Partita No.3 in E, BWV 1006: II. Loure
7. Partita No.3 in E, BWV 1006: III. Gavotte En Rondeau
8. Partita No.3 in E, BWV 1006: IV. Menuet I-II
9. Partita No.3 in E, BWV 1006: V. Bourree
10. Partita No.3 in E, BWV 1006: VI. Gigue
11. Son in E, BWV 1016: I. Adagio
12. Son in E, BWV 1016: II. Allegro
13. Son in E, BWV 1016: III. Adagio Ma Non Tanto
14. Son in E, BWV 1016: IV. Allegro
15. Son in c, BWV 1017: I. Largo
16. Son in c, BWV 1017: II. Allegro
17. Son in c, BWV 1017: III. Adagio
18. Son in c, BWV 1017: IV. Allegro
Reviews:
ClassicsToday
Arthur Grumiaux recorded his Philips traversal of the Bach solo Partitas and Sonatas in 1960-61. In many ways his readings never have been surpassed, although next to Grumiaux you'd rightly have to consider Nathan Milstein (DG and EMI), Oscar Shumsky (ASV), and of course Heifetz. Grumiaux brings the utmost refinement and purity of line to every bar. You can take the colossal technical skill required in brilliant sections of the E major Partita (did anyone ever play the opening Preludio with more fastidious control over dynamics and shaping within phrases?) or the labyrinthine Chaconne from the D minor work completely for granted. Grumiaux also achieves exceptional clarity of articulation in such movements as the fugue from the G minor work, and is both warmly spontaneous and natural in the slow movements (there's none of Menuhin's over-worked ornamentations, just enough to grace Bach's lines tastefully and elegantly). It's a masterful traversal of Bach's "Bible" for the violin, and these discs also make room for two violin and keyboard sonatas (BWV 1016 and 1017), in which Grumiaux is joined by harpsichordist Egida Giordani Sartori. The sound is detailed, vibrant, and fully complementary to the multifarious shadings and colors of violin and harpsichord.
Gramophone (1969 review)
In every respect this is an outstanding set of the Bach solo violin sonatas. Grurniaux plays stylishly and unexaggeratedly throughout, propelling the allegros smoothly but strongly, the andantes with lyrical shaping of the tune regardless of any accompanimental difficulties there may he, and the dance movements with often a considerable lilt. In this he may have been psychologically helped by having used a copy of Bachs manuscript for his work (though goodness knows how he then deciphered the notes themselves!). He was quite certainly helped or more accurately the whole thing was made possible by a technical security in his playing of altogether unreasonable accomplishment. A few (a very few) other violinists do indeed show us from time to time that such technical control is humanly possible, but they do not then always go on to apply their skill to such a stylish performance of Bach.
Here and there Grumiaux surprises by a small awkwardness of rhythm or ornament, perhaps a result of some unexpected scribble in the manuscript. He surprises once, too, in a reading otherwise notable for a good choice of repeat-making by omitting altogether, in the E major Partita, any reference to Minuet I after playing Minuet II. But none of this lets me begin to believe (as Jeremy Noble also did reviewing their original issue) these to be anything other than stunningly good performances. They are also very well recorded indeed.
Musicweb International
Grumiaux's interpretation of these works is singular and personal, and, while some may disagree with his choices of tempo and phrasing, or with his occasional straying from Bach's manuscript, this remains one of the best recordings of these works. He shows a unique understanding of this music. While one may prefer a historically informed performance, such as that of Sigiswald Kuijken on DHM, or Lucy van Dael on Naxos, it is undeniable that Grumiaux gives this music the feeling it deserves.
A mention should be made of the sound quality of the recording. One of Philips' new 96 kHz 24-bit recordings, this indeed has a clean, clear sound, although there seems to be just a bit too much reverb. Listening both on speakers and on headphones (Sennheiser HD 580) shows the sound to be excellent. However, not having the previous release of these works to compare, I cannot really say whether there is truly a difference. Suffice it to say, in any case, that the sound here is near perfect.
This classic 1960s recording of what is, arguably, one of Bach's greatest works is one of the best. The exceptional sound makes this a must-have disc.