16th Variation - An heroic French Overture having an improvisatory and
heroic dotted-rhythm first section and exciting second section fugue.
Level I - These versions are rewarding but either are not highly
distinctive or possess some major blot. Barenboim is great in the first
section but very weak in the fugue. Schiff's fugue is too cute in addition
to being weak; Serkin is too soft throughout. Hantai is rather jittery in
the first section, and Vieru is on the choppy side throughout. Tureck IV
displays much vitality in the first section, but it seems to come via
Liszt. Whatever excitement Xiao Mei provides comes from her first section;
the fugue sounds a little helter-skelter.
Lifschitz's tempo for the first section is the slowest I've ever heard;
ultimately, the interest wans some in the first repeat. van Schie begins
with no bite at all, although it picks up in the first repeat. Hill's
problem consists of too many trills which last too long and are too
pronounced. The versions which I don't find highly distictive are Yudina,
Dershavina, Jaccottet, Koopman, Rosen, Nikolayeva, Kipnis, and both
Leonhardts.
Level II - Tipo, Hewitt, Ingolfsdottir, Perahia, and Vartolo deliver
outstanding dotted-rhythm sections; the first four are the epitome of
heroism, and Vartolo uses his hesitations and slow tempo to convey a
thought-provoking performance. Karl Richter's reading is distinctive
because of the pronouned change in texture from the first section to the
fugue. His heavy dotted rhythms contrast so boldly with the pristine
fugue he creates.
Schirmer's distinction is a driving yet soft-spoken fugue. Feltsman would
be at the top level except for another highest register treatment. Ross
conveys more joy in the first section than any other artist, but his fugue
is a little lacking in momentum. Other excellent versions include
Vinikour, and Tureck I/II/III,
Among the Gould issues, I and IV are the faster performances, and I find
that a slight detriment in their fugues. Gould/CBC is very similar to
Gould II, but the sound is less advantageous.
Level III - These are the performances outstanding in both sections:
Beausejour, Koroliov, Cole, Pinnock, Payne, Jarrett, Valenti, Curtis,
Gould II, Verlet, Gilbert, Suzuki, and both Landowska versions. Except for
Jarrett, each is supremely heroic in the first section and strong/thrilling
in the fugue. Jarrett's first section is perfectly proportioned, and his
fugue carries much noble stature.
Update on Joseph Payne - Payne consistently gives strong and angular
performances fully providing the emotional depth and breadth of each
variation. Presently, only Tureck/DG is greater in my affection. The sole
potential reservation that I can see on the horizon with Payne is that when
listened to at one sitting, the constantly strong projection could be too
much of a good thing; that remains to be determined.
17th Variation - Highly playful music with an 'eerie' edge. The piece
sounds so precise yet at the same time seeming to intend to break apart as
the 'runs' contrast with voices taking side roads. It's like being drawn
and quartered. I find this variation one of Bach's most interesting, and
it allows the performer great latitude in performance style. 'Fast' is the
tempo used by many versions, and the music tends to respond naturally to
it.
The potential for an exciting and interesting ride is tremendous. Some
versions take a slower trip with varying results; these slow versions are
in the 2 1/2 minute range or more.
Level 1 - Van Schie is one who uses a slower tempo; there's no excitement,
his staccato runs are not sharp and don't generate interest, and he's
too heavily into legato at other times. I get little sense of contrast.
Yudina is fast and doesn't handle the tempo with command; she also gets
into some key-banging which is jarring to the ears. Richter just sounds
ordinary and straight-forward without much forward momentum; the two
Leonhardt versions are much in the Richter mold. Both Landowska versions
have plenty of momentum, but the descending runs aren't mememorable.
Tureck/Phillips and her performance at Buckley's home are not very good.
She is quite fast in both readings, and it just doesn't suit her talents.
Curtis happened to be in the listening group also having Jaccottet and
Vinikour; Curtis pales in comparison. Vinikour speeds his way thrillingly,
and Jaccottet provides great joy and lift. In comparison, Curtis is
entirely earth-bound and not so happy; his runs are particularly
unimaginative.
Barenboim deserves his very own paragraph; this is the least appealing
version of the variation I have heard. With extreme volume changes and
key-banging in the second section like he's lost him mind, what I most
dislike is that Barenboim makes this music one big joke; I'm not talking
moderate humor, but the 'split a gut' variety. Personally, I didn't even
crack a grin - wincing was my mode.
'Vitality' will be the theme of this paragraph. Maria Tipo takes things
further than Feltsman; she immediately goes to the highest register and
stays there. This saps much of the music's vitality. Jarrett isn't vital
either; he seems to be restraining himself. Dershavina possesses vitality
to the hilt one moment, then becomes excessively soft-spoken the next.
There's no problem with Lifschitz's vitality since he took one too many
vitamins; his reading has some overbearing strength to it.
Level 2 - These excellent versions have speed and excitement as their
foundation along with very interesting descending runs: Xiao Mei, Koopman,
Serkin, Ross, Pinnock, Rosen, Verlet, Koroliov, Perahia, Ingolfsdottir,
Payne, Hantai, Valenti, Gilbert, Jaccottet, Nikolayeva, Schiff, Vinikour,
Vieru, Kipnis, Hill, and Beausejour.
Slow and excellent performances tend to magnify the details in the music
and present greater horizontal expressiveness than the faster versions.
This group includes Suzuki, Hewitt, Cole, Vartolo, Feltsman, Tureck/DG,
Tureck IV, and Schirmer; it strikes me that Schirmer's and particularly
Hewitt's interpretations are so similar to Tureck/DG. Suzuki gives a
very comforting reading which is quite different from the others.
The four Gould versions are each lightning fast and I sit here just
marveling at his technique; any one of the versions should delight those
who love this piece at the fastest tempo humanly possible.
Level 3 - Empty. There are many wonderful versions, but I don't find any
of them magical.
18th Variation -
Level 1 - Tipo is rather hushed and quite dream-like throughout; there's
no diversity, and the effect is of hearing at best one-half of what Bach
offers. Further, Nikolayeva also presents some dreamy passages; she does
it better and also provides plenty of spunk. Ingolfsdottir chops up the
music a little which results in the performance sounding like a series of
motifs.
Feltsman again takes to the highest register in both repeats like a mouse
takes to cheese; it sounds ever so precious and irritating from him.
There's nothing irritating about Vinikour's performance; it's just routine
and without much feeling.
Level 2 - Payne softens his tone some yet still gives a hearty rendition.
Nikolayeva's interpretation is highly diverse as she investigates the
musical landscape; she uses much staccato in a driving fashion yet also
delivers dream-like passages with much impact from the contrast. Kipnis
is highly ceremonial, Dershavina's reading has much urgency, and Vieru
and Lifschitz are bold and strong.
Cole is very quick and vivacious, and both Landowska/RCA and Jaccottet
are welcoming home the hero. Each of the Tureck readings is excellent;
all are slow paced except for Tureck III. Their common thread is strong
and incisive accenting. Richter, Valenti, and Xiao Mei are about as good
as it gets at level 2; Richter is higly ceremonial, Valenti has a great
rhythm, and Xiao Mei is very playful and gorgeous.
Koroliov displays his tender side effectively. Each of the Gould versions
is high quality; I particularly like the Gould/CBC issue which shows him at
his most vibrant.
Other versions at this level include Hewitt, Rosen, Beausejour,
Landowska/EMI, Pinnock, Koopman, Perahia, Suzuki,
Don Satz
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