Solo Bach reviews

Brandenburg Domaula

“Phenomenal Virtuoso Recital by the acknowledged Bach interpreter Michael Bochmann in the Domaula”

Anyone who thinks that a solo violin concert is monotonous doesn’t know the British violinist Michael  Bochmann. One listens to his perfect playing, enjoys the wonderful tone of his over 300 year old Amati violin and forgets the world.

On Saturday evening the artist performed in the Brandenburg Domaula  as part of the Havelland Musikfestspiele. From the first bars of the E Major partita by J. S. Bach it was clear that here stood a real Bach interpreter. During the demanding technique of Bach’s partitas on the solo violin, the many voices suggested one harmonious movement. Despite the  demands in the partita  Bochmann played with liveliness and brilliance.

Without music – the violinist played the whole programme and encores from memory – this could only be done by someone who knows the music inside out (thoroughly). He sees the notes before his eyes in his imagination says the virtuoso and plays all Bach’s solo works from memory.
Bach’s compositions for solo violin stem from his time as Kapellmeister at Köthen. The high point and crowning of the concert was the Partita in D minor (BWV 1004). Completely absorbed, Bochmann played the single movements sparklingly and shiningly. The partitas are collections of dances.

In particular the Chaconne at the end of the Partita no. 2 is the most famous, the hardest and lasting about 16 minutes also the longest movement in the cycle. He understands this part of the composition as the story of a life from birth to death, Bochmann explained. At the end the listeners were so moved from the wonderful music that it was quite a while, first timidly then enthusiastically, before they applauded.

With a virtuoso like Bochmann, Paganini could not be absent. Ever more amazing is the rapid and complicated music of Paganini in his Caprices. Bochmann played 14,17and 24. He also played the Devils laugh as an encore before the interval. His final encore, which ended this outstanding concert, was the last movement from Bach’s 3rd solo sonata in C major.

Markische Allgemeine    16 October 2006

St. Alkmund’s Church

J.S. Bach wrote music for solo string instruments which has no equal-the six works for unaccompanied cello plus the six for solo violin are among the high points of western classical music. Standing with Buddha-like composure under the glorious painted window in St. Alkmund’s Church, violinist Michael Bochmann was a powerful advocate for two partitas and one sonata by Bach.

Mr. Bochmann introduced each work and left his audience in no doubt of his deep love for the composer. His instrument is an Amati which is more than 300 years old; the quality of its tone is beyond words - in the opening Allemanda of the two Partitas it was broad with the richness of an organ whereas in the lighter, dancing movements it shimmered with flute-like delicacy. The acoustics of the church are perfect for Bach’s master-pieces, a fact appreciated by performer and audience alike.

Several movements, especially the Allemandas and the fuga of the Sonata in
C, glow with a religious fervour. It is wonderful that just four strings can evoke the grandeur of works like the St. Matthew Passion yet this was exactly the result of Mr. Bochmann’s superb playing, playing which brought out the contrast between movements in tempi and dynamics and the spirit of each. He similarly revealed the duality of the works, which are tightly structured yet emotional and spiritual at the same time.

No composer can compare with the formal beauty, the warmth and humanity of Bach and it would be hard to think of a finer performer of the works for solo violin than Michael Bochmann.

Shropshire Star    13 April 2007