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Gold Berg/Mine Variations Johann Sebastian BACH (1685-1750) Goldberg Variations BWV988 (1742) [43:07] Jukka
TIENSUU (b. 1948)
Erz (2006)
[31:40]
Denis
Patković (accordion)
Movements of each work interspered.
rec. 17-19 September 2007, Hochschule für Musik Würzburg,
Rezidenzgebäude HÄNSSLER CLASSIC
CD98.527 [74:47]
Hearing
the opening Aria of the Goldberg Variations on
accordion, and I couldn’t help my imagination seeing the
image of bearded old salt playing for his own amusement
on the pier-side, the sound of lapping water and seagulls
in the distance. This association is no doubt a result
of my over-exposure to ‘Spongebob Squarepants’; almost
every great sporting event of the moment being obscured
by my 6-year old daughter’s demanding television schedule.
The struggle to accept this music on anything other than
a harpsichord or piano is however something everyone will
have to deal with, in their own way, sooner or later.
I
mentioned having this CD to my musician friend Johan the
accordion, and he was unsurprised, telling me of the amazing
things players from Russian and eastern Europe were doing.
It is also possible to come across such players busking
their way around the world. Not the ones who bother you
on trains or the Paris metro, but you can hear some incredible
things at more recognised locations. Hänssler seems taking
a punt on Denis Patković’s chiselled good looks selling
a few copies as well as this experiment in advanced programming,
but, like the romantic banjo player’s almanac, I’m not
sure how many of the chicks are going for accordion players
these days.
Technical
prowess and sex appeal aside, a more interesting aspect
of this recording is that Denis Patković has collaborated
with a composer, Jukka Tiensuu, in order to make a new
work, or a new kind of presentation of the Goldberg
Variations. This kind of creative confluence has of
course been done before, for instance with Telemann’s 12
Fantasies for flute solo. The advantage of coming at Bach
from this angle is that, in this case, there is already
a sense of strangeness about hearing the work on accordion,
so that the ‘interruption’ of the variations is less of
a shock. These new pieces, while performable as single
works and outside the Goldbergs, have mostly been written
with the tempo, melodic shape and harmonies of the surrounding
Bach variations taken into consideration. This may or may
not be clearly apparent, but if you are prepared to hear
Bach’s music as ‘modern’ then there should really be no
problems. After all, if we can argue than Bach’s music
is as relevant to us today as it was when it was written;
then no-one should be allowed to moan when his music is
taken up by contemporary composers and used as a framework.
Denis Patković describes the relationship between
the old and the new as a kind of bridge, seeing a performance
of the Goldberg Variations as ‘like taking a trip
around the world; ‘Erz’ extends this trip by adding new,
very interesting stopovers.’
To
be honest, I hadn’t expected to get much enjoyment from
this disc, but I’ve had to swallow my preconceptions and
admit that this is far from being the bizarre chimera I
had imagined it would be. Patković demonstrates that
the two manuals of the accordion are not only the equivalent
of Bach’s harpsichord, but, being spatially separated left
from right, add an extra dimension of transparency to the
music. Hänssler’s excellent recording clarifies this without
turning it into an extreme experiment in stereophonics
- a good thing, since too wide a spread and you get the
strange aural sensation of listening to an accordionist
with very long arms. The movements of Erz often
enhance the atmosphere of the Goldberg Variations as
a kind of lonely nocturnal exploration of life’s experiences
and the inner soul, and I’ve appreciated having this aspect
of the music being brought to the fore. Tiensuu’s work
does indeed extend the technical range and demands of Bach’s
composition in its own world of variation form, and prevents
Denis Patković’s recording from becoming another vanity-advert
for well known music on alternative instruments. Tiensuu’s
work is by turns atmospheric and energetic, sometimes challenging,
sometimes beautiful, but never really shockingly atonal
or avant-garde: you may be baffled on occasion, but it’s
good, stimulating bafflement. My only beef with the programme
is that we don’t have the reprise of the Aria at
the end, and the disc concludes with Tiensuu’s rabble-rousing Erz finale,
entitled Forwards.
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