Bach [Sonata] Sonatas and [Partita] Partitas for Solo Violin, BWV1001-06. Mark Lubotsky (vn).

Clavigram (Full price) (CD) 2897 943 (two discs, nas: 140 minutes: DDD). Also available on Collins Classics (Full price) (CD) 1078-2 (two discs, nas: 140 minutes: DDD).

The selected comparisons listed above provide formidable competition for any new recording of these works and although I admire much in Mark Lubotsky's work I must say from the outset that he doesn't really succeed in displacing any of them. In Perlman's EMI version one has a level of artistry which entirely makes up for any stylistic shortcomings, because he never allows the tone to become scratchy and his phrasing always has breadth. Shumsky on ASV is much more challenging and forthright. With him the music has an imperious strength that is gripping. Chumachenco (Edelweiss/Conifer), on the other hand, represents different values. His detailed and slightly small scale approach does full justice to the character of each movement. He does not use as wide a range of dynamics as Shumsky, but concentrates more on differentiating between rhythmic patterns.

Lubotsky is a robust player, but his technique is not as accomplished as that of his rivals. This is apparent immediately from the Fugue second movement of the Sonata No. I in G minor. The Siciliano that follows is done with delicacy and taste, but it lacks some definition, as does the final Presto, which is treated very much as a study. Rhythmically accurate as he may be, one does not sense an awareness of the spiritual dimension in Lubotsky's vision of the music. In the Grave opening movement of the Sonata No. 2 in A minor he makes the writing sound very innovatory and modern and therefore it achieves a timeless quality that is ear-catching. The effect of this is spoilt, however, by a Fugue that is effortful and coarse in parts. I know that this music is difficult to make aurally palatable, but Chumachenco and Perlman succeed here rather better than Lubotsky does.

The Partita in D minor, with the mighty Chaconne, fares very well indeed and one suspects that the violinist has performed it rather more than the other works—it is certainly in a different category than the others already mentioned. Tonally more ingratiating, Lubotsky starts the suite with an Allemande of concentrated expression. The Courante, although it sounds rhythmically convincing, is very much on the fast side. Both the Sarabande and Gigue that follow are very thoughtfully done, but still Lubotsky's bowing technique is not as refined as that of Perlman or Chumachenco. In the Chaconne Lubotsky does not throw the music at you; it is never overpowering. He utilizes every resource of technique to ensure the greatest variety of texture in this 14-minute-long movement. I especially admired his deftness in the arpeggio demi-semiquaver passages. He begins the D major section playing very close to the fingerboard, produdng a rather nasal tone, and gradually builds up the sonority and volume by moving closer and closer to the bridge. This should have resulted in a more monumental climax than is actually achieved.

Lubotsky often gives the impression that he sees the music as a test of his instrumental competence rather than as carrying any message or whatever. It is therefore the faster movements that generally come off the best, such as the Allegro assai finale of the Sonata No. 3. The CDs are completed by the famous E major Partita. The first three movements go rather well, but the Menuet No. I is a bit plodding and the Gigue at the end seems too insubstantial a rounding-off.

I think that Lubotsky suffers from a rather inferior recording. The violin is too close and is consequently raw-toned at times. Shumsky's sound is antiquated, but the acoustic has more resonance than with Lubotsky. With Perlman the instrument has receded further and both his recording and especially that of Chumachenco are very easy on the ear. It is the performances of Shumsky and Chumachenco that I would single out as being the most stylish and satisfying although their view of the music is pretty different the first being large-scaled and the second more contained.

JMC