Johann Sebastian Bach.

Johann Sebastian Bach

The Goldberg Variations BWV 988

Jaroslav Tuma--clavichord, harpsichord. Production: Jaroslav Tuma, Vitezslav Janda. Text: Czech, Eng. Recorded: 10/2004 Petrovice. Released: 2005. TT: 154 min. DDD. 2 CD Arta F 10136 (distribution 2HP Production).

"For performers who have fallen in love with the music of Bach, the Goldberg Variations are a great challenge," observes the performer himself in the booklet. One of leading Czech organists, but also harpsichordist and player on the clavichord and hammerklavier Jaroslav Tuma has accepted the challenge, and could be said to have triumphed just by having recorded the whole monumental cycle of thirty variations representing a difficult compendium of approaches to composition not just once but twice over. Once on a two-manual harpsichord, the instrument for which the Goldberg Variations was written, and once (clearly for the first time ever in the history of recording the piece) on a pair of clavichords, an instrument Bach supposedly found more sympathetic than the harpsichord. The listener expecting that a recording by Jaroslav Tuma will offer artistic erudition and insight, maturity of performance and great musical experience will not be disappointed. Everything here has its order, its proper place and its proper time. All the movements have a steady pulse, but at the same time there is very thoughtful, detailed work with agogics. The tempi chosen for the individual variations are very sympathetic. Nothing is taken to extremes and so all the variations remain musically lucid. Naturally the two different instruments with different dispositions produce two different versions of the same work. While the clavichord version is reminiscent of a soft drawing in charcoal, with every tone sensitively modelled, the harpsichord version is more like an engraving with sharp and clear lines, in which the overall composition of the picture plays an important role. In the clavichord version Tuma beautifully brings out the plastic polyphony, in which every part is finely dynamically shaded. The acoustically finely worked gallant conclusions of every variation are like charming compliments. In contrast to the preceding clavichord version, the harpsichord version involves a great deal of ornamentation, and thanks to the change of registers offers the chance for more diverse changes of colour between the variations. As just one example of many we might mention the twenty-fifth variation, the last of the mere three in a minor key, which unexpectedly seems to transport us to another world. And in addition, the CDs' very professionally conceived booklet provides us with Tuma's own erudite and detailed, but hugely loving and readable commentary. The set is a stimulating and valuable contribution on many levels and can be warmly recommended.

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