Alina Ibragimova's interpretations of the violin concertos of Johann Sebastian Bach may be regarded as historically informed performances, though they are by no means the most extreme examples, considering that she plays a late 18th century instrument instead of a true Baroque violin, and her tonal quality is an appealing fusion of period practice and a warm modern sound, though without vibrato. More to the point of authenticity, Ibragimova infuses the concertos with an improvisational freedom that is true to Bach's time, ...
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Alina Ibragimova's interpretations of the violin concertos of Johann Sebastian Bach may be regarded as historically informed performances, though they are by no means the most extreme examples, considering that she plays a late 18th century instrument instead of a true Baroque violin, and her tonal quality is an appealing fusion of period practice and a warm modern sound, though without vibrato. More to the point of authenticity, Ibragimova infuses the concertos with an improvisational freedom that is true to Bach's time, and Jonathan Cohen and the period ensemble Arcangelo supply an energetic accompaniment that gives the music vigor and interest. Hyperion's vibrant recording places Ibragimova front and center, so her playing is always the focal point, though the ear is often drawn to details in the orchestra and the continuo part, which features the refreshing timbres of a lute. ~ Blair Sanderson, Rovi
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