JS BACH: THE SONATAS AND PARTITAS FOR UNACCOMPANIED VIOLIN Gregory Fulkerson – violin Bridge 9101A/B 2CDs ££ BWVs 1001–1006, TPT 2:23’55

It would be pointless to the verge of stupidity to decry any performance of historical music simply because it is not played on a ‘kosher’ period instrument. However, one still needs to question if, even in contemporary interpretations, some adherence to stylistic convention would be preferable. Certainly, the notation of dynamics, articulation and interpretive points are scant in early scores, but there is little information that cannot be gleaned from either an examination of the written notation or even a basic grounding in music of the period. It is a shame, therefore, that Gregory Fulkerson’s addition to an ever-increasing catalogue of Bach solo partitas and sonatas is sometimes considerably off the mark.

One cannot question either Fulkerson’s technique or musicianship in this mid-price double CD from the American record label Bridge. His playing is simply top-drawer and although I personally baulk at the harsh sound that steel strings on his 1774 Guadagnini violin make (here exacerbated by a somewhat close placing of the microphones), one is certain that we are dealing with a violinist of more-than-considerable merit. So what possesses such a performer to flagrantly ignore many aspects of stylistic convention is quite incomprehensible; understandably, there is much value in a romanticised interpretation, but to make a straight reading of the ouverture-like Allemanda of Partita I, for instance, where the dotted rhythms require a more exaggerated and French figuration, seriously mars any sense of enjoyment that this CD might otherwise bring. Fortunately, such instances are relegated to the slower movements, such as the openings and sarabands - I have to admit to preferring a stressed second beat in the latter - and speeds are often so slow and ponderous that one loses all sense of harmonic rhythm and direction.

That said, there remain aspects of the recording that are a delight. In particular, Fulkerson’s flashy technique is appropriately employed for the quicker dances, especially the perpetuum mobile ‘doubles’ that make up a large proportion of the first partita, and the three fugues, each of which is executed with a remarkable facility. The opening of the famous d minor Ciaccona (Partita II) is somewhat dreary, but in this instance one can see where Fulkerson is coming from and it soon livens up into a dazzling display of colour and feeling.

So a bit of a mixed bag - I have to admit to preferring Elizabeth Wallfisch’s rendition on her gut-strung 1750 de Vitor (Hyperion CDD22009), a more stylistically-aware reading with much snappier speeds (hers is a good twelve minutes shorter), but there are still aspects of this recording that are perhaps a little too good to miss.

John Woodford