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Bach and Bartok - Hidden Acoustics



Hidden Acoustics is Ruth Palmer's ground-breaking solo tour, where music reveals startling acoustics, hidden in architecture that comes to life in programmes centred on Bach. Ruth says, "Bach's solo violin music has its own hidden acoustics in its counterpoint, and I have found that solo violin allows me the purest link to the space and acoustic of the building in which I am playing. To me, when the piece of music and the building match in spirit, something magical happens." In the words of Daniel Libeskind, "That raw communication between the building and the person, the child so to speak, standing in front of it and being in it, that is really the discourse; it's an experience that you have with your body, with your mind, with your soul."

One of the most dynamic performers of our time, violinist Ruth Palmer, has garnered international recognition, including a Classical BRIT award for her recording of Shostakovich with the Philharmonia Orchestra. Recent performances include appearances with the Royal Liverpool Philharmonic, Academy of St Martin in the Fields, Ulster, English Chamber, and London Chamber orchestras with conductors including Andre de Ridder, Vasily Petrenko, and Carlo Rizzi. She has recorded for EMI, Quartz, and AVIE, and appears regularly on BBC Radio3, BBC Radio 4, Classic FM radio and Classic FM TV.

Bach and Bartok - Hidden Acoustics


"Palmer is warm toned but urgent in Bach’s most formidable Partita, the D minor, capped by a broad and involving performance of the mighty Chaconne. At just shy of 17 minutes, Palmer’s Chaconne occupies more than a quarter of the disc’s duration and in this most demanding of solo violin works she takes the long view, carefully pacing her performance rather than exploiting contrasts. She doesn't push on with the defiance of Arthur Grumiaux (Philips 438 736-2), but she is more flexible in the four shorter movements than Julia Fischer is in her admirable recording for Pentatone (PTC 5186 072). Appropriately, given the disc’s title, the acoustic space feels vast and reverberant, but we miss no detail of Palmer's performance, thanks to the vivid and close recording of the violin. Rather, the vast space is felt when the music stops; in pauses and particularly at the end of the Chaconne, the sound rings out into the space as though continuing on its journey once it's left our ears."
Andrew Morris -