Prom 21: Alina Ibragimova plays Bach (1.08.15)

[Eine Alpensinfonie]

10.15 p.m.
Royal Albert Hall

Russian-born Alina Ibragimova gives the second of her two Late Night recitals of solo Bach.

Bach: Partita No. 2 in D minor for solo violin, BWV 1004
Bach: Sonata No. 3 in C major for solo violin, BWV 1005
Bach: Partita No. 3 in E major for solo violin, BWV 1006

Alina Ibragimova (violin)

Alina's natural tendency towards a historically informed style of playing these works was formed while she was a teenager at the Yehudi Menuhin School. Her teachers at the time called for more vibrato, bigger gestures. 'I wanted something more direct,' she recalls. 'Less about me.'.

[Eine Alpensinfonie]

I really would like to experience these two unaccompanied violin concerts in the RAH. On radio, the technicians will give it presence, but I wonder about atmosphere.

[Eine Alpensinfonie]

I really would like to experience these two unaccompanied violin concerts in the RAH. On radio, the technicians will give it presence, but I wonder about atmosphere.

I still would like to know the answer to this, if anyone can help.

[Eine Alpensinfonie]

I still would like to know the answer to this, if anyone can help.

OK, I give up.

[ferneyhoughgeliebte]

- nobody attended Mrs Service's Prom, then? Everybody hungover from Ibiza?

[Eine Alpensinfonie]

- nobody attended Mrs Service's Prom, then?

I had no idea...

[David-G]

Completely and absolutely marvellous. The audience were rapt attention, you could have heard a pin drop. Scarcely any coughing even between movements. The solo violinist held the whole hall spellbound. Two of the finest Proms I have been to.

Another marvellous concert was the Goldberg Variations played by Angela Hewitt earlier this evening in the candlelit Sam Wanamaker. Magnificent playing, and the most wonderful sound from the Fazioli in the intimate space.

Three hours of magnificent solo Bach - quite an evening!

PS On Friday I was near the front of the Arena, tonight near the back. My impression was that the solo violin was largely unaffected by hall's mischievous acoustics.

[Eine Alpensinfonie]

Completely and absolutely marvellous. The audience were rapt attention, you could have heard a pin drop. Scarcely any coughing even between movements. The solo violinist held the whole hall spellbound. Two of the finest Proms I have been to.

Three hours of magnificent solo Bach - quite an evening!

PS On Friday I was near the front of the Arena, tonight near the back. My impression was that the solo violin was largely unaffected by hall's mischievous acoustics.

Many thanks for this feedback.

[jonfan]

I wasn't going to listen to more than the first Partita and then go to bed but I was enthralled by the whole performance and stayed to the end. Alina used less vibrato than her Hyperion CDs with absolutely breathtaking pps which sounded amazing on the radio, and hopefully in the hall. Did she use music? If not a prodigious feat of memory. Another great concert in a superb season of superlative experiences.

[David-G]

I wasn't going to listen to more than the first Partita and then go to bed but I was enthralled by the whole performance and stayed to the end. Alina used less vibrato than her Hyperion CDs with absolutely breathtaking pps which sounded amazing on the radio, and hopefully in the hall. Did she use music? If not a prodigious feat of memory. Another great concert in a superb season of superlative experiences.

No music. A prodigious feat of memory, and a great concert, indeed. She stood of course. Completely impassive, intent on the music. Whereas Angela Hewitt earlier in the evening was at times visibly exuberant at her prodigious control of the keyboard.

[edashtav]

I wasn't going to listen to more than the first Partita and then go to bed but I was enthralled by the whole performance and stayed to the end. Alina used less vibrato than her Hyperion CDs with absolutely breathtaking pps which sounded amazing on the radio, and hopefully in the hall. Did she use music? If not a prodigious feat of memory. Another great concert in a superb season of superlative experiences.

My response, too, jonfan, but I do want to hear a report from the RAH because I do fewar that he hushed passages would not have reached some seats that are notorious for their acoustical quirks. On the radio, it was pure magic.

[David-G]

My response, too, jonfan, but I do want to hear a report from the RAH because I do fewar that he hushed passages would not have reached some seats that are notorious for their acoustical quirks. On the radio, it was pure magic.

I was on the left edge of the Arena, near the rear. From the same position, the Mozart of the night before had sounded very thick and muddy. But the solo violin, while not sounding so bright as from the front of the Arena, was clarity itself. With the stillness in the hall, there was no problem hearing the ppp passages. It was magic in the hall too!

[edashtav]

I was on the left edge of the Arena, near the rear. From the same position, the Mozart of the night before had sounded very thick and muddy. But the solo violin, while not sounding so bright as from the front of the Arena, was clarity itself. With the stillness in the hall, there was no problem hearing the ppp passages. It was magic in the hall too!

That's good news, indeed! I did note that the audience was very quiet on the radio transmission, but microphony can be so directional, these days.

[jonfan]

Good as the CDs are of these pieces the live occasion seems to have lifted her to a new level. There's been much debate on live versus studio recordings but if the artists can relax with confidence in their technique then something beyond just a good performance happens. Clifford Curzen was an almost total wreck in the studio but his live performances just took wing.

[ahinton]

I approached this with the gravest of reservations about the apparent absurdity of having unaccompanied Bach performed in this grossly over-inflated bathroom, notwithstanding the brilliance of the performer which is surely in no doubt. My impression was that not even this seemingly crazy idea did anyting to compromise the sheerly compelling and engaging nature of Alina Ibragomova at her best, unbelievable though that might seem; it would appear that nothing but nothing is beyond her capabilities and the fact that she is the very opposite of a violinistic show-woman serves only to emphasise this as powerfully as anything besides her actual playing could possibly do. Not yet 30 and looking as though she'd pass for 18, she plays with all the maturity of someone more than twice her age.

Er - wow!...