This is startlingly good: immaculate, perfectly balanced, with wonderful detail revealed by the rather slow pace. The delicate transitions into and out of the major section in the Chaconne make your hair stand on end. Please, Sayaka Shoji, make us a CD of the whole set of sonatas and partitas. I would crawl ten miles over red-hot gravel to buy it.
Ms. Shoji is the most talented violinist of her generation (with all due respect to grouchy guys, thank you : -). There are a lot of musicians on the international scene who are very good but she is well above, near the top. Incomparable Grace, emotion and sensibility. Congrats..!!
Und nicht nur der absolute perfekte Ton, sie ist eine Einheit mit ihrer Geige und stellt sich ganz und gar in den Dienst der Musik, die sie spielt. Eine solche bescheidene Dienerschaft habe ich nur einmal bei David Oistrach erlebt.
Io credo che l'umanità debba imparare daccapo delle cose fondamentali:e prima di tutte le altre che noi esseri umani siamo delle macchine perfettissime,formate con materiale molto umile e comune.Che però,ecco,si possono percepire anche a sedici anni le prodigiose invenzioni musicali di un gigante come Bach.Non solo ma a interpretarlo con grazia e adesione mirabile.
I would give my right arm to be able to play like this, but that would leave me in a nasty Catch-22 situation I am afraid. Just to say how good I think she is, and how beautiful her tone is. I think that is the most important part of playing. You can play anything as wrong as sin, but if the tone is beautiful, the whole piece is beautiul anyway. She reminds me of Arthur Grumiaux.
I think sayaka's performance of this partita surpasses hilary hahn's, itzhak Perlman, and Janine jansen. It is so pure and perfect. CONGRAGULATIONS, sayaka!!!!
Whereas one hears many interpretations idiomatic to the violin, hers transcends the nature of the violin itself and captures instead this space of reverence - using, as it were, only the most pure instrumentation in some ineffable dialog with that eternal resonance.
+quinto34 I could have happy time with you on RU-vid. I am very Japanese in mentality and don’t know enough the European way to express friendship and respect. My google channel will be deleted next month. I have to appreciate for your wonderful words at last . I hope you go well. MATE!
I am not following any particular religion, but the feelings inspiring Bach's Ciaccona must be the closest approximation to "god"... and this is a great performance too!
Next to H Hahn's great rendition of this piece, this is a wonderful version done beautifully by S Shoji. I'm now convinced that women violinists do greater justice to Bach's Chaconne than the less sensitive men. Am I wrong?
Yes, to the extent that the extreme bravura style displayed by most male virtuosos is simply over the top (Szeryng excepted, if you dig that style in Bach).
***** I agree, her highly emotive playing calls for it. Though the reverb could be digital, it sounds like it was recorded in an empty auditorium, which I could see her opting to do.
I would agree here, becaause for Bach one may think of the accoustics of a church, which are necessary to keep the echo of the harmonies ringing, otherwise the music sometimes makes little sense to the listener. And is impossible to perform as we would like on the fiddle, although we never tire of trying because it is so perfect. But this is the first time I have heard this lady, and she is amazing!
When Perlman plays this, his tempo is so fast, I find his performance less engaging than Shoji's. Technically, it's impressive, but like Heifetz when he plays Tchaikovsky's Violin Concerto #1, it's too fast to do justice to the music. Sayaka is technically brilliant but does not feel the necessity to show off her considerable skill. This is what is called integrity.
Not specifically focussing on the speed here (Julia Fischer for instance plays certain parts (e.g. the Gigue) faster than Perlman), but I certainly perfer Shoji' rendition of this eternal masterpiece. She has more "depth" and perhaps also more "integrity" and "authenticity". She is technical super brilliant too , that's obvious.
Truly sorry, there is no c#, but Sayaka plays b-natural instead of b-flat (last beat of bar 41). This mistake was made by David at his outdated edition.
palladin331 Yes it suppose to be b-flat, but she plays b-natural instead. By the way not all sources. David have “fixed” it for b-natural what you can hear unfortunately in this performance.
@@pole3323215 The Wiener Urtext Edition cites only manuscript sources. If there had been even one manuscript indicating the b natural, Wiener would have given the source as their notes are very detailed. Thus, it wouild appear that David made the change on his own when he published his edition. Note the International Joachim and Moser edition, which follows David's, provides a lower line that supposedly reflects the manuscript used by Joachim. That lower line has the accidental c natural but not an accidental to confirm the b flat, even though both would revert to the key signature without accidentals. So it's not perfect, but there is no reason to assume any original source changed the b flat to a b natural. The Barenreiter urtext edition agrees with the Wiener: both c natural and b flat reiterated. Clearly Ms Shoji used a David - Joachim edition (as most likely her teachers did also) and didn't consult an urtext version. Raphael Bronstein's edition follows the urtexts in this matter, although I don't know if that came from Auer or from an urtext.
No, I mean the intellectual quality of your vomment ("schwach") Wir können aber gerne in unserer Muttersprache weiter diskutieren, da sind meine Möglichkeiten, eine scharfe Klinge zu führen, deutlich ausgedehnter :D
