Bach Goldberg Variations
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Orfeo
Magazine Review Date: 8/1986
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: M138851A
Tracks:
| Composition | Artist Credit |
|---|---|
| Goldberg Variations |
Johann Sebastian Bach, Composer
Dimitry Sitkovetsky, Violin Gérard Caussé, Viola Johann Sebastian Bach, Composer Mischa Maisky, Cello |
Composer or Director: Johann Sebastian Bach
Label: Orfeo
Magazine Review Date: 8/1986
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: S138851A
Tracks:
| Composition | Artist Credit |
|---|---|
| Goldberg Variations |
Johann Sebastian Bach, Composer
Dimitry Sitkovetsky, Violin Gérard Caussé, Viola Johann Sebastian Bach, Composer Mischa Maisky, Cello |
Composer or Director: Johann Sebastian Bach
Label: Orfeo
Magazine Review Date: 8/1986
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: C138851A
Tracks:
| Composition | Artist Credit |
|---|---|
| Goldberg Variations |
Johann Sebastian Bach, Composer
Dimitry Sitkovetsky, Violin Gérard Caussé, Viola Johann Sebastian Bach, Composer Mischa Maisky, Cello |
Author: Nicholas Anderson
Bach intended his Goldberg Variations to be played on a two-manual harpsichord. They were published around 1742 as a fourth part of his Clavier-ubung and titled by Bach, ''Aria with Divers Variations''. As an 'In memoriam' to the pianist Glenn Gould, who made a speciality of Bach performance, Dmitry Sitkovetsky has arranged the work for string trio. Amongst several adaptations of the Goldberg Variations that I know, the present one is perhaps the most interesting. Not only are the strands of Bach's texture transparently clear but also in all but one of the canons, for instance, the free third voice which supports the two upper voices responds particularly well to treatment in this medium. An arrangement is no substitute for the original and, in this case is not intended to be, but thoughtful transcriptions of this calibre, which show understanding of and respect for the music, belong to a tradition in which Bach, and many other great composers, too, have played a part.
The present approach to the Goldberg Variations is admirably uncluttered with anachronistic mannerisms and thus is striking for the directness with which it reaches the heart of Bach's music. That is not to say that its character remains unchanged; in fact, the aural and textural metamorphosis is, at times, startling, as for example is the case in the pervadingly chromatic Variation 25. Some variations, perhaps, lend themselves more readily than others, to three-part string texture; I have already mentioned the effective results achieved in the canons but hardly less illuminating are the spirited French Ouverture (Var. 15), and the haunting Sarabande ''Aria'' on which the variations are based. These players perform the ''Aria'' with such tenderness and restraint that I was at once immersed in its sound-picture, novel to me in this context. It is these qualities, though, which characterize their entire approach and which I wholeheartedly admire. Technically, the playing is of a uniformly high standard with only occasional passages where details are blurred. Vibrato is very tightly controlled and I could find no instances of exaggerated dynamics. For the most part the music is played without repeats though they are observed in the initial presentation of the ''Aria'' itself.
In short, a thoroughly worthwhile project with playing of distinction. It will be a hard heart that cannot respond to the lucid and gentle treatment of the ''Aria'', the abstract contemplation in G minor of Var. 25 or the capricious vigour of Var. 28. Fine recorded sound, silent pressings and a full score of the transcriptions enclosed.'
The present approach to the Goldberg Variations is admirably uncluttered with anachronistic mannerisms and thus is striking for the directness with which it reaches the heart of Bach's music. That is not to say that its character remains unchanged; in fact, the aural and textural metamorphosis is, at times, startling, as for example is the case in the pervadingly chromatic Variation 25. Some variations, perhaps, lend themselves more readily than others, to three-part string texture; I have already mentioned the effective results achieved in the canons but hardly less illuminating are the spirited French Ouverture (Var. 15), and the haunting Sarabande ''Aria'' on which the variations are based. These players perform the ''Aria'' with such tenderness and restraint that I was at once immersed in its sound-picture, novel to me in this context. It is these qualities, though, which characterize their entire approach and which I wholeheartedly admire. Technically, the playing is of a uniformly high standard with only occasional passages where details are blurred. Vibrato is very tightly controlled and I could find no instances of exaggerated dynamics. For the most part the music is played without repeats though they are observed in the initial presentation of the ''Aria'' itself.
In short, a thoroughly worthwhile project with playing of distinction. It will be a hard heart that cannot respond to the lucid and gentle treatment of the ''Aria'', the abstract contemplation in G minor of Var. 25 or the capricious vigour of Var. 28. Fine recorded sound, silent pressings and a full score of the transcriptions enclosed.'
Bach Goldberg Variations
Bach Goldberg Variations
Bach Goldberg Variations
Discover the world's largest classical music catalogue with Presto Music.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £8.75 / month
Subscribe
Gramophone Full Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Full website access
From £11.00 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.