Martzy’s solo Bach, which has acquired iconic status, is well played technically and very satisfying. Deploying the sturdy rhythm and glowing tone that are features of all her recordings, she gives balanced, middle-of-theroad interpretations, unhurried and free of self-indulgence. The three original LPs were well received on both sides of the Atlantic. In America the New York Herald Tribune chose the set as one of its recordings of 1956. In England Edward Greenfield of The Manchester Guardian remarked on Martzy’s ‘luscious vibrato’ but was not bothered by it; and on a later occasion he preferred her set of the Sonatas and Partitas to that of Jascha Heifetz. Desmond Shawe-Taylor of The Observer recommended her recordings ‘for sound musicianship and sustained sweetness of tone’. Interestingly, the question of her vibrato was also brought up by Schonberg after her New York début: ‘Her Bach was anything but purist and “classic” in conception. She approached the music with decisive rhythm and a good deal of vibrato (perhaps a little too much vibrato, in the slow movement; but this is a question of taste).’ Although he was writing about a concerto – and his remarks are borne out by live Martzy recordings of the Bach solo concertos – the points he makes are equally applicable to her unaccompanied Bach. Her interpretations are directly in the tradition of Hungarian fiddlers such as Szigeti, Telmányi and Varga: her native flair and unshowy virtuosity make up for any ‘romantic’ habits in her playing.
From the booklet note Tully Potter, 2011
