RECORDING OF THE MONTH
Johann Sebastian BACH (1685-1750)
Goldberg Variations BWV988 (1742) (arr. Dmitry Sitkovetsky)
[74:45]
Leopold String Trio (Isabelle van Keulen (violin); Lawrence Power (viola);
Kate Gould (cello))
rec. 5 January, 11-12 October 2010, Concert Hall, Wyastone Estate, Monmouth,
UK
HYPERION CDA67826 [74:45]
The arrangement of Bach’s Goldberg Variations for string trio by Dmitry
Sitkovetsky was made in 1985 as part of Bach’s 300 anniversary celebrations,
and it has been recorded among others by Mischa Maisky et al on Deutsche
Grammophon and given a lukewarm review
which incidentally also cites the Leopold String Trio’s Wigmore Hall performance
of the same work in 2006 as ‘revelatory’. Another reasonably positive review
can be read of the Amati Trio’s recording on Brilliant
Classics, though Oleg Ledeniov was less inspired by the arrangement itself.
There’s another report on a 2002 live performance of the Sitkovetsky arrangement
here,
and the overall review index on this work can be found here.
For myself, I have access to a couple of more or less obscure alternatives
to this Hyperion version. The Trio ZilliacusPerssonRaitinen produced a nice
recording on the Caprice label which has a pleasantly light and transparent
quality. The Goldberg-Trio Bonn made a recording for the CAvi label which
is richly expressive in the slower movements; at times a bit heavy in the
faster variations in a more resonant acoustic. Coviello Classics has the Echnaton
Trio, which has its qualities, but could do with being a bit more precise
in terms of intonation and is rather earnest in its approach.
Having tuned my ears with these few points of reference, it became easier
to see where the Leopold String Trio might find itself amongst the competition.
To start with, this is the longest of any of the versions I’ve seen, which
means lots of repeats. This might be a cause for concern, were it not for
the sense of freedom and inner variation which we hear, even in the opening
Aria. Here Isabelle van Keulen uses vibrato as an expressive weapon,
colouring certain notes with stylish ornament rather than using it as a technical
cover-all. The sense of lively discussion amongst the players in musical terms
is brought about through the provision of distinctive character to each of
the parts. The criticism of the ‘top, middle, bass’ nature of the arrangement
falls away when you hear Lawrence Power picking out the prominent notes in
his part, when you hear Van Keulen responding and echoing his lead and vice-versa,
and the whole being driven by the positive vibes of Kate Gould’s cello. This
last mentioned ‘bass’ instrument is arguably a little more distant in the
recorded balance but – as if it were needed – keeps everything as tight as
Charlie Watts’ drum-kit.
Character in the playing is what makes this recording that extra bit special.
Even where the tempo is at full pelt, such as in Variation 5, there
is never any question of anyone scrubbing their way through, and the listener
is kept on the edge of their seat – not with a feeling of impending disaster,
but in order to pick up every shining detail. The dynamics are special as
well, almost vanishingly quiet in Variation 6, but capable of real
impact and ‘wallop’ where required. Non-dogmatic and intelligent application
of historically informed performance style is an aspect of the playing here,
with measured dosages of vibrato as mentioned previously, but with no sense
of stylistic stagnation or point scoring. Each variation is given its own
atmosphere: dancing in formal patterns; Variation 7, noble and
strutting; Variation 10, meltingly simple; Variation 13 and
teacup-breakingly boisterous; Variation 14. The pizzicato in Variation
19 is precious and priceless, and all of those crucially significant variations,
21 and 25 for instance, are made points of emotional focus through
their beautifully observed touches of extra emotional weight. The penultimate
Quodlibet is given a rustic sense of raw energy which is like a refreshing
drink after a long journey. Gould’s cello note at the end of this is allowed
to decay completely, a masterful touch which acts as the transition to the
final return of the graceful Aria.
Hyperion’s engineering is excellent, and the Paul Klee cover Ancient Harmony
is another stroke of packaging genius. As I did before starting on the journey,
you may wonder if the Goldberg Variations played on a string trio could
ever be as good as the best of piano or harpsichord versions. After having
heard this recording in depth and while still hypnotised by its spell, I’m
beginning to wonder if I ever want to hear it any other way.
Dominy Clements
Masterwork Index: Goldverg
Variations
Captivating, mesmerising, and life-enhancing.