5 stars
Johann Sebastian Bach’s Goldberg Variations are famous throughout the world and stand out as unique in his vast catalogue of compositions. Beginning and ending with the same refined aria, the work builds, then heads off on various tangents in a total of 30 variations, each with its own personality and emotion. Every 3rd variation is a canon which is fiercely intricate, involving plenty of cross hand work. This is where one hand plays extremely quickly on one part of the keyboard whilst the second hand plays above and below, over and under the first.
It’s a brilliant demonstration of Bach’s genius and, despite a repeat of the same tune over and over, never gets tiring.
Some History
Published in 1741 there are at least 100 copies of the original edition still in existence. The “Goldberg” title was added in the 1800’s which was named after a child prodigy. Johann Gottlieb Goldberg, a young student of Bach’s, was in the employ of Count Kaiserling, a former Russian Ambassador to the electoral court of Saxony.
Kaiserling was often ill and suffered insomnia. During the rough patches, he would ask Goldberg to play for him on the harpsichord to help while away the hours. These days, we would consider it a bit rough to expect 13 year old Goldberg to work through the night. Was it true? It’s too long gone to know for sure. Regardless of whether it was night or day work, the Count had requested Bach supply a manuscript for Goldberg that was light and cheery and this is what Bach provided. The Count was apparently delighted with what he called “my” variations and rewarded Bach generously, despite no usual personal dedication shown on the front page of the manuscript.
Through the years, this technically challenging work has been recorded with much success. The great harpsichord player Wanda Landowska recorded in Paris for EMI in 1933 and again in New York for RCA in 1942. Pianist Glenn Gould made a big hit of the Goldberg Variations in 1954, when he was only 21 years old, broadcasting for CBC. He recorded it for Sony a year later, again in ’59 for a live festival recording and then quite a different version the year before he passed away in 1981. You can hear both Landowska and Gould with their various versions on Youtube. It can be fun to compare their interpretations.
The Musician
Recordings can be great but, there is nothing like the live experience. Here in Sydney we are blessed to have the wonderful harpsichord player Erin Helyard, founder of Pinchgut Opera and Orchestra of the Antipodes. Today he drew a large audience to the City Recital Hall for a concert that can only be described as Exquisite with a capital ‘E’.
Helyard entered, dressed in simple black with an iPad under his arm. His interpretation felt very personal and said much about who he is. Sometimes introspective, sometimes playful, other times a little dark and serious. Helyard’s skill and technique were superb. He shared with his audience the pure joy of performing and gleefully danced his fingers over the most challenging parts with ease.
The Harpsichord
The visuals were kept very simple with real candles littering the stage around the stunning Carey Beebe Ruckers Double Harpsichord. From the stalls, the instrument looked rather modern with matt grey sides and lid. The legs were lathe-turned, pale golden wood. The seat had matching legs with a gorgeous, camel coloured leather cushion. The vertical panel above the two little keyboards appeared to be similarly decorated to the original Ruckers instrument from 1638 currently kept in the Instrument Museum at the University of Edinburgh. At the close of the concert it was great to be able to walk near the instrument along the front of the stalls. There are so few keys to play, it is a wonder they produced such an extraordinary variety of tones, patterns and emotions.
The Lighting
by Damien Cooper was spot on (forgive the pun). Superb simplicity was created with a few well placed spots, some hazy smoke and a horizontal bar of lights upstage which slowly faded through delicate combinations of colours, amplifying the focus on Helyard at the keyboard.
Keeping the program simple, there were no overtures nor support acts. it was just the work complete and uninterrupted. The audience was thrilled with Helyard’s performance and drew him out for several curtain calls with a long standing ovation.
Such high class work and, indeed, a most enjoyable afternoon.
Related links
Check out what Pinchgut Opera are performing next: https://www.pinchgutopera.com.au/
What’s on Sydney City Recital Hall? https://www.cityrecitalhall.com/whats-on/
