A big standing ovation for Lara St John, having just finished listening to the second CD of her complete sonatas and partitas for solo violin (AR 132, 2007). The liner notes are long, learned and exemplary. The recording is exactly how such things should be: naturally reverberant, not too close.
Technically, the violin playing is extraordinary; Lara can play faster than most, more accurately than most, louder than most, softer than most. A dazzling display of violin bow strokes, tempi, dynamics and finger dexterity. Every movement on the two CDs comes up sounding fresh. What shines through all of this, however, is Lara's love of, and feeling for, the music. The approach is not classical; it's not HIP. It's just right.
I won't throw away my complete sets of Heifetz, Martzy, Milstein, Kuijken, Fischer, et al. But I know that any time from now on I want to hear the Bach unaccompanied pieces ... I'll reach for Lara St John. Nice to hear music played by a master player who obviously loves what she is playing.
Anything negative to counter all this gush? I have no idea why this exemplary production is festooned throughout with Lara in model-like poses (around five different dresses). Having seen her, we all know she's no oil painting. So why the harping on the desirable female angle? The playing is more than enough to stand by itself.