Johann Sebastian BACH (1685-1750)
Goldberg Variations BWV 988 [45:02]
Hristo Kazakov (piano)
rec. 16 August 2010, Bulgaria Hall, Sofia
Self-published 885767108974 [45:02]
The Goldberg Variations have been recorded on so many different combinations
of instruments - string trios, modern pianos and various strung keyboard instruments
- that claim varying degrees of “authenticity” or disregard such
a notion entirely.
This recording on a modern piano in Bulgaria is one in a vastly long list
of recordings of this great work. For a CD of this nature to stand out in
the crowd it has to be something quite special. Unfortunately, this CD doesn’t
stand out. It is presented in a cardboard sleeve with a biography of the player
and a supposed review of the playing (written by the performer’s former
teacher) and contains no further notes. The lack of a proper CD box means
that it would certainly get lost in any CD rack, unnoticeable and unidentifiable,
which is also how the performance comes across. There are exceptions, but
overall there is a lack of colour, in fact of variety, in these variations.
Whilst Kazakov is clearly an accomplished technical player, handling the runs
of Variation 23 and the fast passage-work of Variation 26 with ease and clarity,
the opportunities for expression are passed by. Variation 14 has such a heavy
touch in the lower registers of the piano that it really distracts from anything
happening in the upper registers. This is also the case in Variation 16, where
the balance between the two parts is far in favour of the lower register and
the carefully crafted ornamentation in the right hand is obliterated. Having
said this, Variation 18 contains the perfect balance and a poise that is lacking
in other movements. Variation 25 contains some of the right musical intentions,
but isn’t totally convincing.
Perhaps it is more the choice of repertoire that creates a disappointing impression,
than the playing itself. There are so many recordings on pianos with which
to compare: those of Glenn Gould stand out most prominently. If this player
had recorded less well known music then it would have been easier to hear
Kazakov’s expression and individual voice. The most successful movement
on the disc is the last one, the Aria da Capo where the lower registers
are under a firmer control and the balance between all the parts is spot-on.
The spread chord, just before the end of the first section, is the most beautiful
moment on the disc, and the tempo is less self indulgent than many other recordings.
If only the rest of it was more like this.
This isn’t a bad recording. It just isn’t a particularly outstanding
one, and pitting himself against all the big names, one can’t help but
feel that Murray Perahia, Glenn Gould or Angela Hewitt would be chosen above
Kazakov every time.
Hannah Parry-Ridout
Masterwork Index: Goldberg Variations