No one could argue that there's a scarcity of recordings of Bach's Partitas and Sonatas for Solo Violin on the market; from 1903, Joseph Joachim, aged 72, recorded a few movements, and Sarasate followed in his footsteps shortly after. The first complete recording was made by the young Menuhin in 1936, followed by cascades of new versions by Szigeti, Milstein, Szeryng and Grumiaux, who made a lasting impact on the way this music would be played. And then came the "baroques", led by Kuijken, who set the record straight on the baroque era – although fans of the different schools would continue to tear chunks out of each other. Like any self-respecting violinist, Christoph Schickedanz long had the idea of recording his own vision of the six works; and after his great predecessors and the recent baroque school, newcomers would easily be able to forge a completely new conception that mixed the two, without risking the ire of either tendency. And so he has chosen to play with a moderate vibrato, without the romantic glissandos which encumbered the pioneers' discourses; or the heaviness of tempo which shackled many readings; or indeed the headlong baroque charges which had wrecked several recordings by partisans of the old school. In short, he has given a personal and perfectly convincing reading. © SM/Qobuz