Bach Reimagined. Lara Downes, solo piano. Tritone Records.
German composer and organist Johann Sebastian Bach (1685-1750) published his Goldberg Variations, BWV 988, in 1741 as an aria and thirty elaborations on the theme for harpsichord. The present album attempts to do Bach one better by offering variations on the Aria by thirteen of today's leading musicians. Whether you think they did any better than Bach did, you'll have to decide for yourself as American pianist Lara Downes plays them in this world-premiere recording from Tritone Records.
The Irving S. Gilmore International Keyboard Festival commissioned these reimaginings of the Goldbergs in 2004, the thirteen composers including Fred Lerdahl, Bright Sheng, Lukas Foss, Derek Bermel, Fred Hersch, C. Curtis-Smith, Stanley Walden, Ryan Brown, Mischa Zupko, David del Tredici, William Bolcom, Ralf Gothoni, and Pulitzer-Prize winner Jennifer Higdon. Ms. Downes's own inspiration, as she recounts it, was the 1955 recording of the Goldbergs by the eccentric-genius pianist Glenn Gould, so she's well aware of what others have done with the piece.
The present composers come at the Goldberg from all directions, some of them sounding a lot like the composer himself, some of them clearly jazz influenced, some of them modern and atonal, some of them just a tad whimsical. There's a little something for everybody here, with Ms. Downes playing each of them with equally loving care.
For instance, the program begins with the Bach Aria itself, which I liked best of all, Ms. Downes's playing sensitive and moving. Next up, Fred Lerdahl's restructuring bears little resemblance to the original, and it's happy and bouncy. Jennifer Higdon takes things even faster, yet it's still playful. Bright Sheng prefers a slower, almost spookier attack, making a nice contrast with the sprightliness of what went before. And Lukas Foss gives us a delicate approach, which seems closer to Bach with a little Debussy thrown in.
Derek Bermel updates the piece to the twenty-first century in the imaginatively titled Kontraphunktus, perhaps a play on "contrapunctus," Latin for counterpoint; that's followed by a lyrically flowing version by Fred Hersch. The cutely designated Rube Goldberg Variation by C. Curtis-Smith is as clever as its name. Then Stanley Walden's account comes crashing down on us from another plane altogether.
As the program alternates slower, faster, louder, and softer variations, we next get Ryan Brown's Ornament, a piece notable for the apparent simplicity of its progression and Ms. Downes's responsive handling of it. After that is Mischa Zupko's turn, who gives us a dark, heavy treatment; David del Tredici with a wispy, romantic turn; William Bolcom with a felicitous one; Ralf Gothoni with a faux-baroque ornamentation; and finally a reprise of the original. It's quite a fascinating collection, actually, one we have Ms. Downes to thank for.
The album ends with three favorites of Ms. Downes: Dave Brubeck's Chorale, from his Chromatic Fantasy Sonata; Lukas Foss's Prelude in D; and J.S. Bach's Sarabande, from his French Suite V, BWV 816. Of the final three, it's still the music of Bach that fills me with the most joy, even if there is no denying the appeal of the more-modern material.
Recorded at Patrych Sound Studios, the Bronx, New York, in 2011, the piano sound is gentle and smooth, a bit reverberant, with good body and impact. The engineers miked it at a moderate distance to provide some studio ambience but not so distant as to obscure detail. More important, it doesn't stretch the piano across one's living room.
Two minor, nonmusical annoyances, though: First, the packaging is one of those Digipaks that unfolds into four sections like a road map, making it cumbersome to handle and read. Second, the disc case lists the track timings in a font so small and a color so faint against a dark background, one can hardly read them. As I say, minor quibbles.
About the Author
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.
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