Bach Sonatas and Partitas for Violin Solo

In 2007 I left the secure and familiar surroundings of the concert hall to fulfil a long-held ambition; to busk my way around the world, funding my travels by playing Bach’s music for unaccompanied violin on street corners wherever I found myself. My goal was to launch “Musequality”, a charity that funds music education projects for disadvantaged children in the developing world. During that journey across six continents Bach’s power to bridge linguistic and cultural divides never failed me. At the same time, it was my opportunity to explore the extraordinary world contained in one of the cornerstones of the violinist’s repertoire, his Six Sonatas and Partitas for Violin Solo. This recording is my next step in a journey that, I hope, will last a lifetime.

During his lifetime Bach never travelled further than 250 miles from his place of birth. I count myself exceptionally fortunate to have been able to spend an extended period travelling around the world with him as my constant companion. There was one other person who, having agreed to my deserting her and the family in order to indulge a whim, remained exceptionally close albeit at the other end of the phone. That is my wife, Jane, to whom I dedicate this recording with love and gratitude.

David Juritz



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Disc 1 - Playing time 66:03

Sonata no. 1 in G minor, BWV 1001 16:12

1. Adagio 3:57 2. Fuga (Allegro) 5:25 3. Siciliana 2:54 4. Presto 3:56

Partita no. 1 in B minor, BWV 1002 28:07

5. Allemanda 5:52 6. Double 3:22 7. Corrente 2:54 8. Double (Presto) 3:37 9. Sarabande 3:24 10. Double 2:21 11. Tempo di Borea 3:11 12. Double 3:26

Sonata no. 2 in A minor, BWV 1003 21:44

13. Grave 3:51 14. Fuga 7:20 15. Andante 4:50 16. Allegro 5:43

Disc 2 - Playing time 68:03

Partita no. 2 in D minor, BWV 1004 29:11

1. Allemanda 4:33 2. Corrente 2:32 3. Sarabanda 3:50 4. Giga 4:11 5. Ciaccona 14:05

Sonata no. 3 in C major, BWV 1005 22:10

6. Adagio 3:46 7. Fuga 10:02 8. Largo 2:59 9. Allegro assai 5:23

Partita no. 3 in E major, BWV 1006 16:42

10. Preludio 3:30 11. Loure 3:27 12. Gavotte en Rondeau 2:52 13. Menuet I and II 3:33 14. Bourée 1:27 15. Gigue 1:53


This recording is something of a surprise. If you look at the back cover you will see what looks like a collection of holiday snaps which are in fact photos of David Juritz playing his violin in all kinds of unusual locations. In 2007 he busked his way around the world, funding his travels by playing these works of Bach wherever he found himself. His achievement allowed him to establish a music charity called Musequality, which would appear to be going from strength to strength, but which no doubt could use all our support.
Playing on the streets teaches you ways of communicating with music which are entirely different to that in the concert hall. Being on the same level and sharing the same space rather than on the rarefied altar of a stage can be confrontational and challenging, but it can also create the most magical moments, and it is on those moments that one tries to build. This is something which I feel is carried through in Juritz’s Bach. Beautifully recorded in Nimbus’s own Wyastone Concert Hall on a 1748 Guadagnini violin, not the violin he busked with by the way, this cycle of the Bach Sonatas and Partitas is very attractive indeed. Juritz doesn’t go in for the heavier kinds of expression of older generations represented by Joseph Szigeti, nor does he labour with unnatural rubati, vibrato, or eccentric extremes of ornamentation. Everything sounds fresh and natural, not over-dramatised, but with full of warm and welcoming expression. One can feel Juritz values Bach as a kind of priceless gift which he can give unreservedly, and with a sense of musical story-telling which I find increasingly beguiling the more I hear it.
I stand by my admiration for David Juritz’s performances of these Bach works, “the Bible of the violin.” This has been an ambitious project, and one which has been brought off with a great deal of success. Even if I wouldn’t consider these performances of the absolute very highest order, I would still commend this release for its great candour of expression and lack of pretension. This is the kind of story which inspires me to pick up my instrument and try the same thing. The way things are at the moment I would no doubt be arrested within minutes and make it no further than my local police station let alone a train station, but the idea and the fact of its realisation is marvellous proof of what one person can achieve. This recording is testament to one man’s message to the world, and I salute his achievement on the street corner as well as under the spotlight of the microphone.
Dominy Clements,

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