Dmitry Sitkovetsky's arrangement of Bach's
Goldberg Variations
for strings is more commonly heard performed by string trio. The last
version of this which I came across was the rather good one by the Leopold
String Trio on Hyperion (
review). There is however also an official string
orchestra version which I haven't come across on recordings until now. In
this instance the Britten Sinfonia appears with 6 first violins, 5 seconds,
4 violas, 3 cellos and 2 basses, which sequence has a nice symmetry. The
arrangement ensures that not everyone is playing all of the time, which is
good for contrast but, and very sensible in technically daunting numbers
such as
Variation 5, in which the speedy counterpoint is taken up
by soloists.
Hearing the
Goldberg Variations on anything other than a
harpsichord or piano is always something of a leap - the attack and decay of
tones as much an integral part of the music as the notes themselves. You
will have to accept this as an entirely different vehicle for highly
familiar music, but with such superb musicianship in a heavenly acoustic,
this transition is made very easy for us indeed. The opening
Aria
floats down to us as if from on high, the melody on a violin solo, its
accompaniment gently unfolding beneath. There is not so much an 'authentic'
approach to this performance as one which draws the best out of each
variation, avoiding heavy vibrato but adding just the right amount of
expressive warmth to make the music involving and personal.
The change in perspective between small ensemble and full string orchestra
is also one with which you may need to become accustomed. As with string
quartet works which have been arranged for string orchestra, there is a
payoff between the direct chamber-music conversation of three soloists and
the broader sound of string sections, but there is also a relaxation and
ease with these variations which allows the music to speak more for itself.
We're not seeking the intensity and white-hot emotional strength of a
Shostakovich here, and so a certain amiability in the musical portrayal is
very nice indeed. At times there is a flavour of the concerto grosso in the
setting, and with impeccable tuning, phrasing and articulation whether it be
string trio or orchestra this is a long string of pearly delights. Long
indeed, as all repeats are observed, but this is by no means a trial of
endurance. Each time a return occurs it's more likely that you will have a
little frisson of pleasure, knowing that there is more to come, and that
each final note will be set on top of a perfectly constructed and
proportioned whole.
Tempi are generally brisk, which creates some technically virtuoso
variations, but more importantly convinces thoroughly in the dance-like
variations, such as
Variation 7, al Tempo di Giga. Light dotted
rhythms and an unpretentious directness of style invite formal floating
around an elegant dance salon and occasional significant glances between
people of a certain age. As my old flute teacher Gareth Morris once said,
"we're allowed to think naughty thoughts with Bach - he did after all have
about 20 children." If you put your mind to it some of these variations do
gain a certain sensuality from this performance. The limpid
Variation
13 for instance, or the pastoral delicacy of
Variation 19 with
its laid-back pizzicato lines. There is also plenty of lively crispness, the
string sound never coming through forced, but with plenty of variety in
colour and layering in something like the sprightly
Variation
20.
There is beautifully expressive playing all over the place, but a
highlight is of course
Variation 25,
Adagio, famously
dubbed "the black pearl" of the set by Wanda Landowska. Sparing in its
instrumentation and sound, the solo violin once again floats over the
gentlest of brush-strokes from the other players, creating a genuinely
magical atmosphere.
Without a weak moment in the entire work and in stunningly good SACD
sound, this is a
Goldberg Variations to acquire and hang onto for
dear life, for it is indeed life-enhancing. If you love two-manual
harpsichords and are resistant to change now is the moment to ditch your
prejudice, and here is the place to jump into the ever-growing stream of
alternative
Goldbergs. You may never need another.
Dominy Clements
