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data pubblicazione: 11/02/2010
JS BACH • Sonatas & Partitas for Solo Violin

Alina Ibragimova (violin)

Le Sonate e Partite di Alina Ibragimova - la violinista russa che è stata spalla della Kremerata Baltica di Kremer e che si è perfezionata con Chrisrian Tezlaff - sono di ammirevole caratura tecnica per la fluidità del fraseggio e il Suono rotondo, intriso di forti connotazioni espressive. Emerge di più nelle Partite, per quel piglio vivace che contraddistingue il suo approccio interpretativo: i movimenti di danza le si addicono benissimo. La Terza Partita colpisce particolarmente per il gioioso e leggero dei movimenti che fluiscono uno dopo l'altro con eccellente caratterizzazione espressiva. Nelle Sonate, in cui peraltro mostra un'eccellente tecnica d'arco con la capacità di proporre gli accordi con notevole rapidità e scioltezza raggiungendo una particolare velocità negli Allegri finali, le scelte interpretative risultano più neutre. Nella Prima Sonata, per esempio, l'Adagio appare ben articolato nel fraseggio con accordi ben torniti, ma la Fuga è troppo spedita, anche se il suono è sempre di ottima fattura, Dopo una Siciliana leggera e danzante, anche il Presto risulta eccessivamete veloce. Ripeto, un'ottima violinista che già dimostra alcune felici intuizioni interpretalive, le quali però vanno coniugate con una visione più ampia dell'opera bachiana.
Carlo Bellora - Musica, dic09/gen10
Blonde très glamour, formée en Russie, Alina Ibragimova est à vingt-cinq ans un talent prometteur s'ajoutant à une belle cohorte de violonistes féminines dont les révélations surviennent régulièrement chaque annèe. EIève de Gordan Nikolich, Adrian Butterfield et Christian Tetzlaff, elle a déjà gravé trois CD de musique du XXe siècle chez Hyperion, dont un formidable récital Szymanowski (Diapason d'or, cf. n° 571). La voici nous offrant sa vision des Sonates et Partitas avec un évident culot, une approche personnelle et une technique immaculée.
L'influence de Tetzlaff est patente dans la manière d'accuser les angles et de soulever quelques moments de passion, avec une sûreté dans les doigtés et un débit qui soulignent les vertus d'une virtuosité impeccablement maîtrisée. Le trait est net, le geste parfois exagérément vif - exagérément dans le sens ou son élan masque les détails d'une écriture profuse. Peu ou pas de vibrato, une ligne claire, un archet volubile nous valent quelques moments de grâce ou de tension (Grave de la Sonate BWV 1003, finale de la BWV 1005) voire de panache (doubles de la Partita BWV 1002). D'une manière assez cohérente avec la luminosité fragile de ses sonorités, Alina Ibragimova évite de grossir le trait et d'en rajouter dans le côté monumental de cette Bible du violon. Ce qui parfois nous laisse sur notre faim comme dans les fugues, trop décontractées, et dans la grande Chaconne, d'une discrétion rythmique et dynamique presque excessives (une conclusion bien trop apaisée). Du coup, on lui préférera, entre dix autres, la lecture plus fouillée et passionnée de son maître Tetzlaff ou celle plus inhabituelle et autrement impressionnante de Julia Fischer. Parions que le caractère et le styIe d'lbragimova sauront trés vite s'épanouir dans d'autres répertoires.
Jean-Luc Macia - Diapason, Janvier 2010
The 24-year-old Russian fiddler attacks Bach 's solo masterpieces with searing zest. Speeds are quick throughout. Ants in pants spring to mind in the Preludio of Partita No.3. A tendency to stab at the notes lends drama to the slow Sarabands in Partitas Nos 1 and 2, but long-held, honed tone is a rare commodity. The Ciaconna of Partita No.2 is rather dry and curtly phrased. The Fuga of Sonata No.1 has crystal definition around the lines but there is a lack of warmth. Despite the sprinting speeds there is a forlorn quality to Ibragimova's playing which has won many friends, though here fewer of them may also be Bach's.
RJ – Classic fm, December 2009
AIina Ibragimova's previous recordings fur Hyperion bave been of 20th century music - impressive accounts of Szymanowski, Roslavets and Hartmann. Her Bach comes as something of a revelation. The finesse we've previously admired in her playing is here combined with thoughtful stylistic awareness (she's studied Baroque violin with Adrian Butterfield) and a distinctive, individual approach. She plays with very little vibrato, often none at all, so that variations in volume and colour all come from the bow, alIowing her to present the musical shapes in a clear yet unemphatic way. She eschews the usual violinistic attempts, through big tone and heavy emphasis, to underline the grandeur of Bach's designs; the Chaconne ends quietly, and the peroration of the Fugue in the Third Sonata, whose exposition returns to round the movemenf off, is achieved through a slight broadening of the tempo.
Ibragimova's playing is uncommonly neat, with precise fingerwork and relaxed management of the bow; the virtuoso finale of the Third Sonata sparkles effortlessly while remaining for the most part at a piano dynamic. She plays unequal quavers in the Third Partita's Minuet as naturally as if she'd grown up in the 18th century. And finally, all her stylishness and technical refinement is at the service of an ingrained understanding of the music; she makes us feel where the points of harmonic tension and emphasis are, and she's able to do it without distorting the surface of the music.
Hearing this set, some listeners may miss the more vigorous, forceful character of Christian Tetzlaff's rerording, or long for the warmer tone and more sustained playing of Julia Fischer. But I hope these airy, poised, deeply felt performances find wide appreciation.
Duncan Druce Gramophone, November 2009
BBC Music Choice
David Grimal's recent discs of the unaccompanied Bach (on Ambroisie, reviewed last month) came with copious observations about his attitude to che problems of a 'period' approach. Alina Ibragimova's, alas, do not - beyond the testimony of the playing itself! A pity, because since she is both a seasoned concerto soloist on the modern instrument, and leader of the period instrument Chiaroscuro Quartet, she might have had some rather interesting bridge-building things to say. In the event her playing triumphantly does the job for her. It forges a potent synthesis, uniting the steely, eyes-wide-open focus of Christian Tetzlaff (her one-time teacher) and the supple stylistic insights of a Rachel Podger. In the Partitas she's supremely alert to the idiomatic nuances of each dance, while in the Sonatas the fugues are always contrapuntally clear and purposeful in their forward momentum. There are times in the slow movements - the Adagio of the G minor for example - when her expressive freedom threatens to destabilise the music's centred flow but, sensitive to their rhetoric, she never falls into the trap of over-indulging the Sarabandes.
And with one tiny exception (in the G minor Presto), her technical accomplishment is awesome. The D minor Giga scampers along as if mindful of the transcendent monumentality of the Ciaccona lurking around the corner - and when it arrives, Ibragimova tip-toes and soars with aplomb.
PAUL RILEY – BBC Music Magazine, November 2009

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