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
Leopold String Trio (Isabelle van Keulen (violin); Lawrence Power (viola); Kate Gould (cello))
