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After The Four Seasons, the Bach violin concertos, and the sonatas of Matteis, Amandine Beyer presents her vision of the Sonatas and Partitas, one of the pillars of the repertoire, coupled with the solo sonata of Pisendel, the best-known German violinist of his generation, who met Bach at Weimar.
Johann Sebastian Bach: Violin Partita No. 1 in B minor, BWV 1002
I. Allemanda
II. Double
III. Corrente
IV. Double. Presto
V. Sarabanda
VI. Double
VII. Tempo di Bourree
VIII. Double
Johann Sebastian Bach: Violin Sonata No. 2 in A minor, BWV 1003
I. Grave
II. Fuga
III. Andante
IV. Allegro
Johann Sebastian Bach: Violin Partita No. 2 in D minor, BWV 1004
I. Allemande
II. Courante
III. Sarabande
IV. Gigue
V. Ciaccona
Johann Sebastian Bach: Violin Sonata No. 3 in C major, BWV 1005
I. Adagio
II. Fugue
III. Largo
IV. Allegro assai
Johann Sebastian Bach: Violin Sonata No. 1 in G minor, BWV 1001
I. Adagio
II. Fugue: Allegro
III. Siciliana
IV. Presto
Johann Sebastian Bach: Violin Partita No. 3 in E major, BWV 1006
I. Preludio
II. Loure
III. Gavotte en rondeau
IV. Menuett I-II
V. Bourree
VI. Gigue
Johann Georg Pisendel: Violin Sonata in A minor
I. [Largo]
II. Allegro
III. Giga
III. Variation
March 2012
“These are fresh, spirited, finely judged performances. The tempi of the fast movements never seem too quick, though they often prove faster than those of other period players, and the slow movements are superbly paced...Beyer never plays on the listener's emotions but instead maintains a sliver of detachment that, in the context of her stylish performances, seems appropriate for music that is almost 300 years old...An enormously enjoyable set.”
February 2012
“Beyer's playing is outstanding for her consistently sensitive delivery - finely chiselled in details but always organic with a keen ear for the music's broader harmonic direction. Although it invites and deserves close attention it does not overtly seek it...Her playing is at its finest...where it is at its most self-effacing: in the ear- and finger-defying polyphony Bach frequently demands from his player.”
Click on any of the works listed above for alternative recordings.
I. Allemanda
