Composer: J.S. Bach
Works: Goldberg Variations BWV 988
Performers: Markus Becker (piano)
Recording: Recorded October 2000
Label: CPO
The Goldberg Variations, composed in 1741, stand as a monumental work in the canon of keyboard music, embodying both structural ingenuity and profound emotional depth. Commissioned by Count Hermann Karl von Keyserlingk for his personal harpsichordist, Johann Gottlieb Goldberg, these variations explore a single aria through a labyrinth of intricate counterpoint and diverse forms. Bach’s ability to weave together technical brilliance and lyrical beauty has made this work a benchmark for pianists, and it continues to inspire both reverence and reinterpretation in the concert hall and recording studio alike.
Markus Becker’s interpretation, recorded for CPO, presents a meticulous approach to this iconic score. From the outset, Becker’s touch is remarkably smooth, eschewing ugliness in favor of a polished sound that is both inviting and precise. However, this very smoothness raises questions about the vitality and range of expression within his performance. While the clarity of Becker’s technique allows for an admirable execution of Bach’s complex counterpoint, it often feels as if the emotional nuances that can spark life into the variations are subdued. The absence of a more pronounced dynamic range and vibrant color leaves the interpretation feeling somewhat monochromatic.
Becker’s technical prowess is evident throughout, particularly in the execution of Variation 6, which typically demands the pianist’s virtuosity to shine through hand-crossing passages. However, rather than embracing the opportunity for flamboyance, Becker maintains a steady tempo that, while commendable for its consistency, ultimately sacrifices the variation’s inherent drama. His trills in the fughetta are commendably even, yet they lack the expressive tension that could elevate the work’s architectural beauty. The decision to treat the variations as an evolving thematic exploration is intriguing, yet it often results in an overall performance that prioritizes coherence over excitement.
Recording quality plays a critical role in interpreting Bach’s music, and the engineering here is transparent, allowing Becker’s pianism to come through with admirable clarity. However, this clarity sometimes becomes a double-edged sword. The pedal usage, while generally judicious, can distract in moments where the clarity of phrasing is undermined, particularly at the ends of phrases. The pacing of Variation 12, the Canon at the fourth, exemplifies Becker’s quest for a grand design, but his choice of half-speed risks undermining the sense of dialogue that is central to the variation’s impact.
Becker’s treatment of Variation 15, marked Andante, and the Adagio of Variation 25, the so-called “Black Pearl,” showcases a sensitive, unpretentious approach that avoids sentimentality while effectively drawing out the inherent poignancy of Bach’s writing. Yet, the final variation, “Cabbages and Turnips,” often imbued with wistfulness, feels somewhat flat, lacking the familiar warmth that typically marks the aria’s conclusion. It is as if Becker, in his pursuit of an intellectual interpretation, has neglected the emotional resonance that this work so easily elicits.
While Becker’s recording is undoubtedly precise and thoughtful, the overall experience is one that may leave listeners yearning for more vivacity and contrast. The admiration for his technical clarity is undeniable; however, the affection that often accompanies a performance of the Goldbergs may prove elusive. This recording, while valuable for its insights into Bach’s structure and Becker’s artistry, ultimately invites reflection on the balance between scholarly integrity and the emotive power that can so vividly animate Bach’s music.
