Violin Concerto in E, BWV1042
Violin Concerto in A-minor, BWV1041
Partita in D-minor, BWV1004
Daniel Lozakovich (violin)
Members of the Bavarian Radio Symphony Orchestra
Radoslaw Szulc (director)
Concertos recorded October 2017 in August Everding Saal, Grünwald, Bavaria; Partita in November 2017 at Teldex Studio, Berlin
Reviewed by: Colin Anderson
Reviewed: August 2018
CD No: DEUTSCHE
GRAMMOPHON 479 9372
Duration: 64 minutes
Here’s something to celebrate: not only a very talented violinist but also one who plays Bach in a timeless way, without fad or fancy, or ‘authentic’ conjecture; a wholesome approach that respects the printed page yet without being pedantic or literal to it; indeed the first movement of BWV1042, while ideally articulate in tempo, also has a beguiling swing. Thus Stockholm-born Daniel Lozakovich (aged sixteen at the time of these recordings) is the real deal – technically unflappable, poised of phrase, richly expressive with long lines, and a musician to his bowing arm.
With lively and sensitive support from the stylish members of the Bavarian Radio Symphony Orchestra led by Radoslaw Szulc (and including an excellent harpsichordist, Olga Watts, well-captured in the mix), Lozakovich is ‘first among equals’ but with the personality to shine outwards from the ensemble that he is integrally balanced within; that said, the recording is a little fierce, but can be easily tamed without harming the Baroque splendour of the reproduction, and the slow movements are heartfelt (that of BWV1041 is transporting), never mawkish, and sounded with a judicious amount of vibrato, and impeccable ornaments, to illuminate the expression.
Following an exhilarating Finale to BWV1041, rhythmically vital, Lozakovich gives an absorbing exposé of the D-minor Partita, the spotlight now on him entirely, which concludes with the extensive ‘Chaconne’. Once again, Lozakovich provides a vividly communicative version that is also innate and, with the movements running one to another with minimal pause to maintain intensity, it’s all very persuasive. Prior to the ‘Chaconne’ – imposing, scrupulous yet spontaneous, ink-still-wet playing that organically embraces hush and flamboyance – is a joyfully dancing ‘Gigue’. As debuts go, this is pretty special.