Johann Sebastian Bach (1685-1750) supposedly wrote his Goldberg
Variations at the request of Hermann Carl von Keyserlingk who wanted some
clavier pieces for his harpsichordist, Johann Gottlieb Goldberg. However, there
is no evidence that this was the case, particularly given that Goldberg would
only have been fourteen years of age when the variations were written. The
indications are that the Goldberg Variations were intended to be an integral
part of Bach’s Clavier-Übung series to which they bring an impressive finale.
The debate over whether these variations should be performed
only on a harpsichord or whether a modern piano is suitable pall into
insignificance when confronted with a modern arrangement for small string
orchestra.
A new release from
Harmonia Mundi www.harmoniamundi.com/#/home
featuring the Britten Sinfonia www.brittensinfonia.com directed
by Thomas Gould www.thomasgould.com
of
Dmitry Sitkovetsky’s http://imgartists.com/artist/dmitry_sitkovetsky1
arrangement for string orchestra will no
doubt raise issues amongst purists. I have no such problems, finding this new
release an absolute joy.
 |
| SACD HMU 807633 |
There have been many varying versions of Bach’s Art of Fugue
ranging from harpsichord to instrumental ensembles. Bach himself wasn’t above arrangements
of his and others’ music, taking a practical attitude when using or re-using
musical material.
On this new recording Thomas Gould directs the Britten
Sinfonia from the violin. The Sinfonia consisted of twenty string players using
modern instruments, a size that gives a marvellous transparency of sound that
helps Bach’s musical lines to emerge clearly.
The opening Aria certainly
sounds absolutely right with minimal vibrato and much expressiveness as the
theme slowly winds its way forward. Variation
1 is full of lively rhythmic poise, the lines of Bach’s contrapuntal
invention clearly drawn by the various string sections, before we move into a
light-hearted Variation 2 with such
clarity of line, a real joy. With Variation
3, Canone all' Unisono a solo violin
leads another forward, soon joined by another, in a lovely canon backed by the
rest of the Sinfonia who weave a fine sound. Variation 4 brings incisiveness and fine textures with a lovely
forward flow.
There is some very fine playing in the fast and furious Variation 5 bringing out all of the
nature of Bach’s original keyboard invention with added expressiveness and
texture with top notch playing from the Britten Sinfonia. Variation 6, Canone alla seconda brings a release of tension, finely
controlled and full of flowing breadth.
Sitkovetsky’s impressive arrangement of string lines is
shown to the full in Variation 7, al
Tempo di Giga with a lovely rhythmic lilt, full of fine rhythms. Richer,
more incisive playing returns for Variation
8 with some very fine string textures and colours in this intoxicatingly
attractive arrangement.
Variation 9, Canone
alla Terza follows beautifully with just a slight slackening of pace yet
with such fine forward movement. With Variation
10, Fugetta as each string layer is added there are some terrific textures
and timbres in this wonderful arrangement with all of Bach’s feeling of
inevitability. Variation 11 brings some
very fine interplay from the various string players as they weave Bach’s fine
invention. Variation 12, Canone alla
Quarta pushes ahead with a terrifically light footed pulse, so beautifully
controlled - surely Bach would have approved.
Variation 13 feels
like a new discovery such is the impact of this arrangement, yet so attuned to
the style and nature of Bach. It is exquisitely played with a lovely leading
line from Thomas Gould. There is a sparkling Variation 14 with some terrific little intricate phrases from the
leader with every section given the chance to shine. Variation 15, Canone alla Quinta brings an ethereal sound, stunningly
lovely textures are overlaid before various individual players weave their
lines in this gorgeous outflowing of ideas expertly realised here. The violins
rise up, underscored by the rest of the ensemble in a great outpouring of
vibrant, joyful melody in Variation 16,
Ouverture with some particularly crisp and incisive individual playing
before a wonderfully lithe conclusion.
This litheness is continued into Variation 17 with more terrific weaving of lines and a fine ebb and
flow. Variation 18, Canone alla sesta brings
another finely light textured canon so sensitively controlled with some
beautifully restrained passages. Pizzicato strings point up Variation 19 against the melody of the
other players in this almost Tchaikovskyan arrangement. Variation 20 comes as a fine contrast bringing a vibrant sunny feel
with some spectacularly fine playing from the various members of the Sinfonia
in some of the more intricate passages.
Variation 21, Canone
alla settima is pure Bachian joy as the music slowly flows forward with
each line finely overlaid. There is a vibrant, confident, sunny Variation 22 before some phenomenally
intricate patterns are woven in Variation
23. I defy anyone not to be totally entranced by this variation. A stately,
poised Variation 24, Canone all' ottava
follows with the various musical lines soon flowing over each other in a way
that Bach would surely have loved.
Thomas Gould winds a fine melody over the lower strings in a
melancholy Variation 25, Adagio with these
players bringing a fine sensibility, weaving some glorious lines. The vibrant Variation 26 jolts us back with playing of
the highest virtuosity from this fine ensemble always keeping the contrapuntal
line clear. Bach’s lovely Variation 27,
Canone alla nona is realised with a gentle restraint and such fine textures
whereas
Variation 28 brings
to its beautifully light textures a fleet footed nature, gently pointed up by
occasional pizzicato. Variation 29 brings
out clearly Bach’s subtle variations of his theme as it unfolds with more very
fine playing from the individual sections of the Sinfonia, particularly the
lower strings.
The music rise up in a stately manner for Variation 30, Quodlibet, rich and
sonorous before we return to the final Aria,
a heart stopping lovely moment as these fine players weave the melody slowly
and gently forward to the coda.
The Britten Sinfonia is on top form under Thomas Gould’s
direction. These arrangements as played by this fine ensemble only serve to
illuminate Bach’s genius. I suppose for many this will fail on two counts,
firstly modern instruments and secondly because it is a modern arrangement.
This would be an enormous a pity as there is some glorious Bach here.
The recording from All Hallows’ Church, Gospel Oak, London,
England is first class and there are excellent booklet notes. In all, this is a
real winner.
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