Johann Sebastian Bach (1685-1750)
Goldberg Variations, BWV 988
Pierre Hantai, harpsichord
Recorded at Doopgezindekerk de Haarlem (Pays-Bas), 2003
Released February 2004
Mirare 9945 [78:40]

Comparison Version: Hantai/Opus 111 - Naive

A short time ago, I reviewed the new Andras Schiff recording of the
Goldberg Variations that was made about twenty years after his first
version on Decca.  Now, Pierre Hantai gives us his second interpretation
of the work after only a ten year hiatus since his first recording for
Opus 111 that has been reissued at mid-price on the Naive label.  Has
Hantai revised his thoughts on performance style, or is he simply a man
who loves to play and record the Goldbergs?  Although I recently read a
review indicating that the two versions are very similar, I find that
Hantai has significantly revised his thoughts on performance style.

In his 1992 performance, Hantai's exuberance, high energy, fluidity,
and steady drive win the day.  In 2002, the exuberance is less prevalent
with a bitter/sweet undercurrent now standard in the Aria and many of
the variations.  Tempos are little slower in the newer version as Hantai
explores particular phrases and musical lines, also judiciously using
slight hesitations and rhythmic variations; also important are the much
sharper contours in the new version.  Perhaps most significant is that
the new version is darker in personality and offers more levels of
contrast both as a coherent whole and within each variation.

All of the above doesn't necessarily add up to considering the 2002
version better or worse than the 1992 release.  They are just different
in conception and equally compelling.  I would hate to be without the
unbridled joy and lift of the earlier interpretation, and the newer one
is treasured for its greater breadth of emotional content and stronger
rhythmic stretching achieved through incisive accenting and inflections.
The one constant in both versions is complete service to the composer
and a consistency of excellence rarely found in other recordings of the
work.

Here are a few highlights of my travels with the two Hantai versions:

Aria - Significant differences surface immediately in the opening Aria.
Whereas Hantai's earlier version lasts slightly over 4 minutes, the newer
performance takes almost 5 minutes.  Hantai '92' is very comforting and
optimistic; Hantai '2002' is bitter-sweet to the core.

Variations 3 thru 8 - Hantai is positively radiant and bubbling with
enthusiasm in his earlier recording, while his recent version tempers
the bubbling effect with other emotional themes of less joyous magnitude.
Both approaches are perfectly executed.

Variation 9 - The earlier Hantai is joyous and uplifting; the newer one
is slower with hesitations that convey a personality of nagging doubts,
a darker and richer interpretation.

Variations 13 & 15 - The newer Hantai has the clear advantage here.
An improvisatory presentation makes the dialogue more spontaneous and
realistic, particuarly in Variation 13.  Concerning Variation 15, Hantai
now offers layers of dark emotional content that contrast more effectively
with the one radiant passage in the second section than in the earlier
version.

Variation 16 - This is the Overture with its heroic double-dotted rhythm
followed by an invigorating fugue.  I have to make special mention of
Hantai's performance on the new release.  The heroism he conveys is
drenched in sharply pungent phrasing, and his fugue is a whirlwind of
powerful and detailed activity.  This is one of the best versions on
record, and I know of no sharper recorded interpretation.

Variation 28 - I mention this variation as an example of Hantai's fantastic
virtuosity, precision, and expressiveness in both versions.  The finger
work and articulation are simply amazing.

Don's Conclusions: The new Hantai release of the Goldberg Variations is
among the best harpsichord versions on the market.  The increased maturity
of his interpretation over the 1992 recording is apparent in the richer
emotional palette, improvisatory presentation, and variety of tempos.
This is a 'must buy' disc for anyone not allergic to the harpsichord.

I also continue to strongly recommend the 1992 performance that is quite
similar to the outstanding new Andras Schiff piano version on ECM in
terms of conveying the joy and vitality of Bach's inspirational music.
In addition to the two Hantai versions being different in conception,
the respective harpsichords used are also dissimilar.  In the 1992
performance, Hantai's choice of instrument is a very warm Dutch Bruce
Kennedy model; the new release has Hantai playing a Jonte Knif German
model that is much sharper and detailed than the Dutch model.  One hears
some of the Knif mechanical action, but the effect is not distracting.

Although the instruments and the interpretations are distinctive from
one another, both Hantai recordings are wonderful.  Assuming monetary
considerations are not bleak, get both discs and revel in one of the
greatest keyboard works in history.

Don Satz
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