Isabelle Faust - J.S. Bach Sonatas and Partitas for Solo Violin - Concert 1

Featuring:
- Bach Sonata No. 1 in G minor, BWV 1001
- Bach Partita No. 1 in B minor, BWV 1002
- Bach Sonata No. 2 in A minor, BWV 1003

Bach's Sonatas and Partitas for solo violin sit on top of the summit of violin playing, no question about that. They're a set of masterpieces that require violinists to play at their best and more to convey the meaningful musical messages behind those notes. Personally, after listening to a great performance of these pieces (e.g. Milstein's or Szeryng's recording), I always have an image in my mind where I face a black ocean of limitless possibilities and uttering 'Bach is like an ocean'. They're so great that every time I listen to them it's like a spiritual experience.

Those transcendental experiences unfortunately didn't come to me tonight. Isabelle Faust has a gorgeous technique producing wonderful trills and double stop with multiple voices easily, her tone is sweet, a little bit laid back, and every note is crystal clear. Her playing was very much relaxed with her eyes fixed to the score in front of her with feminine sound. Anyway, even with all of those good things, she missed out in engaging the audience to the music. The opening adagio of the sonata was dispatched easily, but I missed the emotional impact of it. It sounded too polished. The fugues (of both first and second sonata) were not engaging, Isabelle focused too much on the clarity of those double stops notes while sacrificing the flow of the music. Siciliano's tempo was dragging, but the fine performance of the exciting Presto renewed my hope in her playing.

Next was the first partita, the Allemande was well-played continuing the fine form of the previous Presto. I don't like the tempo of the Double following it. Next Courante and Double were okay, but the Sarabande dragged for too long. I had further problems with the Bourree: this dance movement didn't feel like a dance at all and it's all too obvious from how she played the opening of the bourree. Luckily the Double in the end was quite good.

In the interval, I reflected on the performance and noticed that I enjoyed Isabelle's playing the most in fast movements where she actually let herself go and actually attacked the music. And then I thought that maybe she was playing 'safe'. She shouldn't have and should have let herself be more adventurous. Also, in those slow movements, the phrases sounded a little bit disconnected with each other and probably the main reason why I wasn't connected with them.

After the interval, the Grave opening of the second sonata received a much better performance, but the fine performance did not follow after the chords in the end of Grave leading directly to the Fugue. As I described earlier, the Fugues were disappointing. The flow of the music is disrupted throughout due to her emphasis on playing the notes clearly and accurately, ruining the fugal runs. The Andante of Second Sonata is perhaps the favourite movement of mine apart from the Chaconne in this set of masterpieces. Here her playing was wonderful, and apart from various silence that lasted too long, I quite enjoyed it. The finely played last Allegro rounded up the night.

Some more notes on how Isabelle played: she was really gentle (I would say she 'caressed') on the violin, never fiercely attacking it even during fast passages. Her playing is very controlled, but her tempo tends to be on the slower side. These factors above probably made me felt that her playing is 'safe'. A much lamented attitude I think, especially in live performance.

Isabelle will perform the other partitas and sonata tomorrow night. I'm not sure if I would want to go again as her Bach playing doesn't suit my taste. That and the fact that I have my exam on Friday (freaking statistics!!). But, I want to listen to the Chaconne, the Sarabande, the Giga, the Preludio...ARGGHHHH frustrating... Sigh...

I guess for now, I probably should be happy with Milstein and Szeryng.

Oh lastly, if anyone reading this should worry if there are seats available tomorrow: Don't be. Tonight's performance wasn't that well-attended (250 or 300 people at max?). I'm pretty sure it'll be the same tomorrow (well, unless the 'Chaconne' works its magic and attracts a full house).

Next concert: Elgar's Cello Concerto and Prokofiev 5th symphony with MSO this Saturday. Rant: (how dare them! I want to listen to Haydn's Cello concerto which they substituted. No disrespect for the cellist or the piece itself, but I'm pretty sure Jacqueline du Pre's recording can't be topped. I rather listen to Haydn's CC live to celebrate his 200th passing. And the fact that I've listened to Elgar's CC live last year in MSO's free Sidney Myer concert).