Composer: Johann Sebastian Bach
Works: Goldberg Variations, BWV 988
Performers: Käte van Trich, organ
Recording: December 1990
Label: MDG
Johann Sebastian Bach’s Goldberg Variations, composed in 1741, stand as a towering achievement in the canon of keyboard literature, celebrated for their intricate counterpoint, structural ingenuity, and profound emotional depth. Originally intended for harpsichord, the work has proven adaptable, finding life in numerous interpretations across various keyboard instruments. However, Käte van Trich’s recording of these variations on the organ raises significant questions about the suitability of the instrument for this particular score, offering a case study in the challenges of transcription.
Van Trich’s performance is marked by a certain stiffness and ponderousness that seems at odds with the inherent lightness of Bach’s writing. The organ, with its capacity for sustained notes and rich coloration, can indeed lend itself to many of Bach’s works, yet here it flattens the nuanced dynamics that are so critical to the Goldberg Variations. For instance, the opening Aria, which should evoke a sense of lyrical grace, feels weighed down; the notes extend too long, losing the delicate interplay of voices that characterizes Bach’s style. This heaviness is compounded in variations such as the third, where the lively character typical of the piece is supplanted by a stately chorale-like feel, the bass overpowering the treble and diminishing the work’s rhythmic vitality.
The recording’s engineering is clear, yet it highlights the limitations of the organ in this context. The sound, though well captured, does not allow the intricate details of Bach’s counterpoint to emerge effectively. In the 11th variation, what should be a cascading melody becomes muddled, the clarity of the right hand’s intricate lines obscured by the organ’s broader textures. While the organ can provide a majestic backdrop for many compositions, here it seems to suffocate the very essence of Bach’s musical dialogue.
Van Trich’s choice of tempi further complicates the interpretation. Many variations, particularly those that beg for a brisker pace, languish instead, creating a sense of inertia. This is especially evident in the 21st variation, where the rhythmic drive typical of other interpretations yields to a sluggishness that diminishes the work’s overall momentum. In contrast, notable recordings by harpsichordists such as Glen Gould or Pierre Hantaï capitalize on the instrument’s ability to showcase the work’s playful dialogue and intricate ornamentation, showcasing why the harpsichord remains the preferred choice for many.
While this recording of the Goldberg Variations on organ serves as an intriguing curiosity for those interested in the intersections of Bach’s music with varying instrumental interpretations, it ultimately underscores the inherent challenges of adapting such a work for the organ. The nuances and vibrancy that define Bach’s mastery are notably absent in Van Trich’s execution, leading to a performance that may disappoint those seeking the rich tapestry of sound and texture that the Goldberg Variations can provide. For aficionados of organ music, this recording may hold some merit, but for those seeking to fully appreciate Bach’s genius in these variations, it is perhaps best left aside in favor of more compelling interpretations that do justice to the work’s intricate beauty.
