Johann Sebastian BACH (1685-1750)
Goldberg Variations BWV 988 [76:44]
Joël Pontet (harpsichord)
rec. April 2010 Studio Sequenza de Montreuil, France
SAPHIR LVC 1166 [76:44]
If you had to choose one definitive recording of the Goldberg Variations
which would it be? This question is impossible to answer as the countless
number of recordings is incomparable due to the different instrumentations,
historical view points and even editions of the music used. How can you compare
the sonorities of a 21st century Steinway Concert Grand piano to
the vibrancy of a 17th century style harpsichord? Frenchman Joël
Pontet could have chosen either, as he studied both at the Paris Conservatoire,
and this time he chose the harpsichord. It is easier to compare recordings
on similar instruments, so it is to other recordings made on strung keyboard
instruments that the comparison shall be made.
This recording was made on a copy of a Rückers harpsichord by Marc Ducornet
in 2006. There are no notes in the CD booklet about this instrument, but one
can assume that this Flemish instrument has two manuals with an 8’ and
4’ stop on the lower manual and 8’ stop and buff on the upper
manual. The sound of these instruments is quite unmistakable for their rich
and balanced tone, and it is easy to hear how carefully the upper and lower
registers complement each other, especially on the upper manual of this instrument.
This is particularly noticeable in Variation 13 when the buff stop is used
and the clarity of voicing is truly exposed.
An appropriate comparison to this recording is that recording in the late
1990s by Pieter-Jan Belder (Brilliant Classics 92217/11), as it is made on
a very similar instrument. The Rückers harpsichord used by Belder is
by Cornelis Bom. The first difference between these two recordings is that
Pontet makes far greater use of the 4’ register on the lower manual
of his harpsichord. This gives a more brittle and electric sound to his playing,
making the first variation full of life and energy. The Aria and first variation
on Belder’s recording are played on 8’ alone, which gives his
playing a more organic development and allows the listener to hear the subtleties
of his playing more easily. Throughout the recording, Pontet makes a great
deal more registration changes than Belder, which act to engage the listener
on the surface as well as to characterise the variations quite specifically.
This is often the case with French trained keyboard players, whereas Dutch
and German players are more restrained in their tonal use. Belder’s
more reserved use of the different sounds available to him means that the
listener has to be more aware of tempi, articulation and phrasing in order
to understand the performer’s interpretation. That is not to say that
there is a lack of delicate phrasing in Pontet’s performance, there
is. Variation 10, the fugetta, makes use of a large variety of subtle articulation;
the touch is varied to represent the different moods of the keys which the
music passes through, this is highly sophisticated playing. Both recordings
score equally highly on the quality of performance, instrument and recording.
The overriding difference: where Pontet is adventurous, Belder is thoughtful.
This recording has its own voice and its own place amongst other recordings
of this truly remarkable work. Pontet clearly knows what he wants us to hear
and isn’t afraid to use all of his skill and the whole textural range
of his instrument to demonstrate this. Occasionally the sound of the instrument
detracts from the phrasing that is there and the 4’ can become quite
tiring to listen to. Pontet’s articulation and phrasing ideas are so
clear, perhaps it would be beneficial to change the sound less often and let
his performance speak for itself. The sound quality of the recording is so
good that it is better than listening live and the booklet notes are adequate,
if not a little brief. Overall, due to the vast numbers of available recordings,
this wouldn’t make a list of the top 5 recordings of the Goldberg
Variations on harpsichords but would probably make it into the top 20,
which is actually quite high praise.
Hannah Parry-Ridout
Accomplished, yet occasionally tiring, playing.
Masterwork Index: Goldberg
Variations