by PHK
If you haven’t heard the German violinist Axel Strauss play, you should.

This early thirties something San Francisco Conservatory-based professor and violin virtuoso performed in Santa Fe last weekend – first in a private chamber music concert for symphony supporters, then in a sold-out performance of Spanish and Latin American works with the Santa Fe Symphony under guest conductor Guillermo Figueroa, the conductor of the Albuquerque-based New Mexico Symphony.
Axel Strauss, the first German artist to win the Naumburg Violin Competition (1998), is worth pulling yourself away from the television set and the never-ending play-offs of that never-ending season and into the concert hall – regardless of size and time of day. Yes, Strauss effortlessly performed the whipped cream type works that make for an easy listening, wow the audience-type performance, but his presentation of the rarely played unaccompanied Johann Sebastian Bach’s Partita, No 2 was no less than breathtaking.
This was music of rare beauty – and rarer emotion in a time of too much technical brilliance among too many young performers that too often turns into an emotional wasteland.
The Partita, composed in 1720 upon Bach’s return to Vienna - whereupon he only then learned of his first wife’s death - may have been a requiem – or at least a tribute to her – perhaps along the lines of that incredibly beautiful mausoleum, the Taj Mahal, that Shah Jahan, the 17th century Mughal Emperor had constructed to honor his beloved wife Mumtaz Mahal upon her death.
Just as the Taj Mahal is unique, Bach’s Partita # 2 also defies classification: it is polyphonic. It is melodic. Its depth goes well beyond its time, well beyond Bach’s contemporaries – George Philipp Telemann, Domenico Scarlatti, and George Fridric Handel. This Partita just doesn’t fit neatly into any musicologist’s drawer. At the Friday night chamber concert, you could have heard a pin drop. Members of the audience - including and perhaps especially the professional musicians in the room - were mesmerized.
Years ago when I was in the Foreign Service posted abroad, Strauss would have been just the sort of musician we would have loved to sponsor – providing, of course, he was an American citizen. As an Assistant Cultural Affairs Officer, a Center Director, or a Cultural Affairs Officer, I would have arranged for an artist of Strauss’ caliber to perform in a variety of venues.
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