Over the past few months I have reviewed twenty one versions of Bach's
Goldberg Variations. I found three more yesterday in the house and
purchased two additional versions today. So I have five more for your
consideration right now; the Goldbergs don't wait for anyone.
Vladimir Feltsman on Piano - MusicMasters 67093 (1991).
Charles Rosen on Piano - Sony Essential 48173 (1967).
Ragna Schirmer on Piano - Berlin Classics 0017162BC (1999).
Trevor Pinnock on Harpsichord - Archiv 415130 (1980).
Bernard Labadie & Les Violons Du Roy - Dorian 90281 (1999).
Ragna Schirmer is a new name to me. From the cover photograph, which
shows her leaning forward in an obvious attempt to reveal cleavage, she is
a young pianist in her late twenties. The Dorian uses four violins, viola,
cello, harpsichord, and theorbo. We'll see how this arrangement works out.
I forgot to mention that Schirmer's performance, at over 86 minutes,
requires two cd's and is premium priced; it must be that cleavage.
In addition to comparing these five versions to one another, I'll also be
comparing them to the best versions I have of each variation. It's time
for the main event.
Opening Aria - Gould(81), Tureck(DG), and Suzuki(BIS) deliver outstanding
performances. Pinnock, like Gould, skips both repeats; also like Gould,
his reading is poignant and wonderful. Feltsman has some awkward phrasing
in the first theme, unfortunately goes to a higher register in the repeat,
does well in the second theme, and gets a little awkward again in the 2nd
repeat. Labadie provides a consort-type performance that's very appealing
with excellent urgency; the violins do get a little too loud at times for
much serenity to enter the picture. Equally good are the very slow
Schirmer and quick Rosen; each just lacks that last ounce of depth
provided by Pinnock.
1st Variation - When listening to Labadie & company I was struck by how
they sounded like my perception of the "Hollywood Strings" at the Motion
Pictures Academy Awards. It had me chuckling out loud. It's a joke of
an interpretation and the only good thing I can say about it is that the
group, based on this variation, would fit in splendidly at the Awards
Ceremony. Feltsman is fast and still awkward at times, but he has the
basics covered. Schirmer also gives a fine performance which is a little
short on some lively bouncing. You can't accuse Rosen of not being lively;
he's fast, joyful and urgent at the same time. His reading is worthy of
comparison with Gilbert and Gould(81). The same applies to Pinnock's
exuberant and joyful performance. Concerning Ragna Schirmer, the
impression I'm getting is of a highly poetic artist who is quite reserved
and holding herself back.
2nd Variation - Feltsman is fast and very good until the 2nd repeat where
he again moves up to a higher register. Pinnock's accenting is on the weak
side and the reading somewhat one-dimensional. Labadie's strings sound
delicious and the performance is excellent, although both Goulds(55/81)
and Tureck on Philips can't be beat. Rosen is even better with fantastic
accenting and pacing; he joins the top level. Schirmer starts off with
more life than previously, and except for a lackluster repeat of the first
theme, is outstanding with her lyricism and accenting.
3rd Variation - Labadie's violins are haunting, but the bass line is
not well defined. A fantastic bass line is provided by Schirmer in an
exquisitely beautiful performance fully the equal of Blandine Verlet
on Astree and Tureck on Philips. Rosen is again excellent; my only
reservation is a somewhat halting pace that he uses which affects the
music's flow. Feltsman is fast again and much more effective than in the
two previous variations until the conclusion where he once more goes for
the higher register. Pinnock's performance is very short: no repeats and
a speedy tempo. Although enjoyable, the music's poetry is reduced. This
is Ragna Schirmer's variation all the way.
Before moving on, I'd like to give my views on the "higher register" matter
which is most likely to take place in repeats. I don't have any problem
with some variation in repeats, nor do I have any conceptual issue with
varying the theme through going to a higher register. But it has to sound
natural, attractive, and integrated into the music's fabric. Every time
Feltsman goes up, the sound is tonally displeasing, calls attention to
itself, and has no properties of integration. I don't think the problem is
all Feltsman's; the sound quality plays a role also. I hope he stops doing
it, because it's significantly dampening my enthusiasm.
4th Variation - Heroic and swaggering music with great bounce. Tureck on
Philips brings all this home to me with a slow tempo. Rosen's version is
a good one but does not come close to providing the swagger, bounce, or
heroism of Tureck's performance. Schirmer's swagger is better than
Rosen's, but she's a little weak on accenting to match Tureck. Feltsman is
very quick and at Schirmer's level; the same applies to Pinnock. Labadie
provides a nice bounce to the music, but that "Hollywood Strings" label
certainly applies in full. Overall, there are no gems of the 4th variation
in this batch, and Labadie and Les Violons Du Roy have that
glossy/superficial string sound.
5th Variation - Tureck on DG is pure magic in this masterful music
of counterpoint and unbridled joy; Jarrett and Verlet are close behind.
Feltsman is very fast, has trouble negotiating such speed the further
he gets into music, and engages in some messy playing; I still enjoyed
the performance of such great music. Enjoyment doesn't come easy with
Labadie's strings; again, the Hollywood sound is prevalent with the added
attraction of some syrup-laden tones (Bach at the movies). Schirmer and
Rosen are as rewarding as Feltsman with readings that also have smudged
passages; Rosen also drags in spots. Pinnock's performance is a gem
compared to the other four versions, although it has no special properties
to compare with Tureck, Jarrett, or Verlet.
6th Variation - Seamless music conveying life's pleasures. I've not heard
a better version than Angela Hewitt's; her's is such a gorgeous reading
with wonderful highlighting of the interplay between voices. Feltsman is
very good, but the sound quality of the highest notes is disconcerting.
Labadie's consort approach, much preferred to the Hollywood approach,
is very pleasing. Rosen's performance has some great elements, but he
actually gets forceful at times as if he's mad about something; what
happened to life's pleasures? Pinnock and Schirmer are the standouts in
this grouping. Pinnock gives a classic performance, and Schirmer makes
great use of a left-hand staccato while her right hand conveys a lovingly
seamless legato.
Update: There are two levels at this point. Pinnock, Schirmer, and Rosen
occupy the top with Labadie and Feltsman at the bottom. Feltsman never
reaches the heights, and when getting close, the sound quality gets in his
way. Labadie loses me every time he uses the semi-orchestral style; it
makes me think of the worst that the world of glitz offers.
7th Variation - Lovely music with an exquisitely subtle sadness. Hewitt
fully captures the essence of the variation's beauty and sadness. Schirmer
captures the sadness, but there's a lack of life to her performance which
isn't helped by her slow tempo. Rosen is quicker and more lively, but the
sadness is mostly missing. Pinnock skips both repeats, and his quick pace
sounds rushed. Labadie is a little too light and playful. Feltsman starts
off well but creates his own variation from the higher register in both
repeats; it's a failure both times. None of these five versions is
Anything to write home about, and Feltsman should be avoided. Hewitt
and other excellent versions are much better.
8th Variation - A fast and exciting piece with a delicate streak which
provides an infectious contrast. Tureck(DG) slows it down significantly
and makes the music into a full-course dinner. None of the five versions
takes her approach, but Rosen and Pinnock give excellent readings full
of energy and contrast. Schirmer's contrasts would have benefited from
greater boldness. Feltsman has some trouble with his fast speed, and the
left hand is too strong in the first theme's repeat. Labadie again takes
the orchestral route to the music's detriment.
9th Variation - Gorgeous music of longing. Feltsman does something odd;
he essentially creates his own melody line in the repeats. I'll just say
that he doesn't compose as well as Bach. Labadie's consort style is very
enjoyable, although I would have expected more longing with the approach.
Pinnock, Schirmer, and Rosen are excellent; they bring out both the beauty
and longing. Pinnock again skips the repeats, but his slow tempo insures
that the music's length sounds sufficient. Tureck on Philips remains my
favorite version.
10th Variation - Heroic music played perfectly by Tureck on Philips.
Rosen and Schirmer are almost as fine as Tureck but not as consistently
demonstrative in their accenting/attacks. Feltsman is appropriately heroic
but a little clumsy with hesitations and too strong with the left hand in
the second subject. It's movie time again for Labadie; I have to say that
his forward momentum and sense of line are admirable. Pinnock is more
demonstrative than Rosen or Schirmer, but his sound is somewhat tinny and
busy. This aspect of the recorded sound is not beneficial, particularly
since there are many fine Goldbergs on harpsichord with superior sound
quality.
11th Variation - Joyful music full of sunlight. Rosen is somewhat
low on joy and technical precision; Gould(81) reveals what's missing in
Rosen's performance. Pinnock has good pacing and flow, but is a little
surface-bound. Schirmer uses a strong staccato in the first theme repeat;
it provides variety although I'm not enamored of the results. Her second
theme has a much better flow, and the satccato repeat also is a major
improvement. Labadie is fairly slow with good counterpoint; the joy in his
reading is rather subtle, and I end up liking this performance very much.
Feltsman is very fast and provides a wide spectrum of colors, but he does
not display the technical proficiency of a Gould and he has a 'romantic'
moment at 1'14" into the variation; that can't be good. Overall, great
versions from Gould and Hantai remain untouched.
12th Variation - I love the way Gould(81) plays the voices against one
another in his fast paced performance. Pinnock is very slow and incisive;
it's a fine reading, although without repeats. Rosen is pure poetry and
outstanding; he's in Gould's class although much more relaxed. Feltsman
is excellent with a fast and thrilling performance; he just can't balance
each voice as superbly as Gould. Schirmer's also mighty fine, although
she occasionally becomes too forceful. I've been keeping my fingers
crossed when I listen to Labadie, but I don't think it's bringing good
luck. Although having fine pacing and generating excitement, Labadie
brings Bach to Henry Mancini territory. It's like a record at the gas
station with the title "100 Strings Play The Most Beloved Bach Melodies".
I realize I keep bringing this up, but it amazes me that anyone would want
his/her name associated with this style of playing Bach. It makes Bach
nothing more than a tunesmith.
13th Variation - Favorite versions include Maria Tipo's dream-like and
gorgeous performance on EMI, Yudina's reading of urgency on Philips, and
Gilbert's exquisitely slow and precise interpretation on Harmonia Mundi.
Schirmer is slow paced with a beautiful swaying effect and subtle urgency;
her version is worthy of joining the best. The consort approach works very
well for Labadie; a strong element of sadness is prevalent. Pinnock again
provides no repeats, but his delicate and highly urgent reading is among
the leaders. Feltsman gives a very rewarding performance only hampered by
occasionally awkward phrasing. Rosen is quick and a little matter-of-fact
in the first subject; his second subject sounds more involved.
14th Variation - Perahia on Sony is a fine standard with plenty of
excitement and perfect excecution; many versions have exhibited technical
difficulties negotiating this variation. Pinnock has no trouble at all
with a fast tempo and equals Perahia. Rosen's phrasing doesn't seem as
natural as Perahia's. Schirmer could be a little more lively overall
and provide more of a sinister element to the second subject. Feltsman,
although a little disheveled, is as good as most versions until he moves to
the highest register in the second theme repeat; the effect is 'precious'
and out of place. Labadie gives a benign performance which skims the
surface; it sounds worse with additional listenings.
15th Variation - The first theme is bleak; the second opens ominously, and
then out of nowhere, a ray of pure light takes over. Pierre Hantai on Opus
111 delivers an outstanding performance. The main story on this variation
is that Feltsman finally puts it all together and provides a devastating
reading conveying a darkness and foreboding of great proportion coupled
with an exquisite ray of light. If anything, he is more rewarding than
Hantai. Pinnock would be in this high category except for disregarding
repeats. Schirmer is excellent throughout with a slow tempo. Both Rosen
and Labadie are low on darkness with a resulting loss of impact when the
uplifiting passages arrive. Do listen to Feltsman, and I'd like to know
your opinion.
I'd like to close Part 1 with some words about Charles Rosen. His style of
playing Bach bears similarities with Gould and Gulda. All three place high
priority on forward momentum (reaching the destination) and crisp/precise
music making. None makes a practice of taking horizontal directions off
the course. Rosen isn't doing as well as Gould(81), but his performances
have been very good. That also applies to Schirmer and Pinnock. Feltsman
has been having his problems, but the wonderful 15th Variation has given
his recording some value. Labadie could have used a consort approach
throughout; even better, he could have had a mix of consort and solo
harpsichord. Instead, he chose consort and chamber-type orchestra. His
decision might appeal to many listeners, but I hear a poor approximation
of Bach's music.
Don Satz
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