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Adolf Busch Plays Bach

Adolf Busch Plays Bach

Adolf Busch Violin

CDs: 2
Tracks: 27
Length: 1:54:56

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Rel. 1 Jan 2006
Recorded 1928-1943

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Adolf Busch Plays Bach This is a fascinating historical document for collectors and for admirers of violinist Adolf Busch—a category that includes many people who don't even know that they fall into it (as one of the founders of the Marlboro Music Festival in Vermont, Busch exerted a tremendous influence on the growth of chamber orchestras in America). Surprisingly, it may also prove a resource for players and adherents of the historical-performance movement. The recordings were made mostly between 1929 and 1933, shortly after Busch, clearly identifying the prevailing winds, left his native Germany. (One selection, the Violin Sonata in E major, BWV 1016, comes from a set of more widely available Busch concerts given in Washington, D.C., in 1943.) This is the Romantics' Bach, certainly. Nothing in Busch's performances is remotely close to idiomatic—nor should anyone expect them to be, given the date. Ignore the designations in the tracklist of forces that include a harpsichord; the continuo part in all the ensemble works is realized by Busch's associate Rudolf Serkin on a piano. And here's where things start to get interesting. Serkin made quite an intellectual leap in his accompaniments here: he did not just keep the piano closed and quiet, but adopted a crisp yet clipped articulation that little resembed the conventional ways of playing Mozart and Beethoven chamber music with piano. He gets the balance between soloist and continuo right, and he puts the emphasis on Busch's playing. Busch, for his part, plays with a gusto that contemporary players would do well to emulate. The highlight is perhaps the opening Partita No. 2 in D minor for violin solo, BWV 1004, with its giant chaconne at the end. Busch's performance of the chaconne is a real thrill ride, hugely expressive, but never losing sight of the basic architecture of the material and of the fact that he was playing music that depended on solid blocks. The Violin Concerto No. 2 in E major, BWV 1042, in an undated recording made with the violinist's own Busch Chamber Players along with Serkin's piano lightly laying down a background (CD 1, tracks 10-12), is another highlight: the size and energy of the orchestra, years before people really figured out how to play this music, are ideal. The individual sonata movements with Serkin on disc 2, verging into the territory of Kreisleriana (listening to recordings like these, one begins to understand how Kreisler could get away with his famous Baroque hoaxes of the 1930s), are a little less successful, but anyone performing Baroque music today will find something beneficial in Busch's full-blooded approach. A nice job all around from Italy's energetic band of discographical researchers.

© James Manheim, Rovi
Portions of Content Provided by All Music Guide.
© 2008 All Media Guide, LLC. All Music Guide is a registered trademark of All Media Guide, LLC.
AMG
CD 1 of 2
1 1.Allemande 2:38
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2 2.Courante 1:29
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3 3.Sarabande 3:45
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4 4.Gigue 1:57
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5 5.Chaconne 13:37
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6 1.Adagio 5:07
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7 2.Fuga: Alla breve 9:36
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8 3.Largo 3:55
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9 4.Allegro assai 3:20
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10 1.Allegro 7:57
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11 2.Adagio 7:36
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12 3.Allegro assai 2:43
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CD 2 of 2
8:16
Adolf Busch Violin
1 1.Adagio 2:36
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2 2.Vivace 0:55
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3 3.Adagio 3:21
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4 4.Presto 1:24
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5 1.Siciliano: Largo 3:01
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6:54
Adolf Busch Violin
6 2.Allegro 3:05
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7 4.Allegro 3:49
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8 3.Sarabande 3:49
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17:20
Rudolf Serkin Piano, Adolf Busch Violin
9 1.Adagio 5:02
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10 2.Allegro 2:55
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11 3.Adagio ma non tanto 5:55
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12 4.Allegro 3:28
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13 2.Fugue: Allegro 5:00
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14 3.Siciliano 4:42
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15 4.Presto 2:14
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