Composer: Johann Sebastian Bach
Works: Goldberg Variations, BWV 988
Performers: Jory Vinikour, harpsichord
Recording: October 2000, Skywalker Sound, Marin County, California
Label: Delos DE 3279
The “Goldberg Variations,” composed by Johann Sebastian Bach, stand as a monumental achievement in the canon of keyboard music, often perceived as a pinnacle of Baroque creativity. Originally commissioned as a means to soothe insomniac Count Hermann Carl von Keyserlingk, the work’s intricate structure and emotional depth have made it a beloved staple for musicians and audiences alike. Jory Vinikour’s performance on this recording offers a fresh perspective on the variations, inviting listeners to explore the nuances and subtleties of Bach’s genius with an interpretive voice that is both commanding and sensitive.
Vinikour’s approach to the “Goldberg Variations” is marked by an impressive balance between clarity and expressiveness. From the outset, his interpretation of the opening aria demonstrates a willingness to linger in the music’s rich harmonic textures, allowing the listener to fully appreciate the piece’s lyrical beauty. The aria’s expansive duration, clocking in at nearly five minutes, is not merely an indulgence; rather, it serves as a canvas for Vinikour’s ornamentation, which, while intricate, remains tasteful and enhances the music rather than overshadowing it. This careful attention to detail recalls the style of Ton Koopman, yet Vinikour distinctly carves his own path through the material.
The technical prowess displayed throughout the variations showcases Vinikour’s ability to traverse a wide emotional landscape. For instance, in Variation 7, his rapid embellishments breathe new life into the brisk melodies, drawing out the playful character that Bach intended. In contrast, Variations such as 9 and 11 highlight his sensitivity; the former is imbued with a delicate touch and subtle phrasing, while the latter reveals a nuanced balance between ornamentation and the underlying structure. Vinikour’s interpretation of Variation 25 is particularly noteworthy. At over ten minutes, his expansive reading invites the listener into a profound musical dialogue, echoing the depth of Bach’s own “Chaconne” from the D minor Violin Sonata. Here, the harpsichord’s tuning becomes a palpable element, rendering the performance emotionally resonant and compelling.
The quality of the recording itself merits attention. The Ruckers copy harpsichord, crafted by Kevin Fryer, resonates with a brilliant sound, characterized by incisive high notes and a rich, albeit slightly shallow, bass register. The absence of excessive reverb allows the nuances of Vinikour’s playing to shine through, creating a sound that is both present and precise. This clarity is essential, particularly in the more florid variations where each note and ornamentation must be distinctly articulated. The engineering captures the dynamic range of the instrument beautifully, ensuring that the listener is enveloped in the full spectrum of Vinikour’s interpretation.
While the discography of the “Goldberg Variations” boasts numerous distinguished recordings, Vinikour’s effort stands as a significant addition. His youthful energy, combined with an evident respect for the work’s historical context, results in a performance that is both engaging and intellectually satisfying. By exploring the full breadth of Bach’s intentions without sacrificing musicality, Vinikour not only honors the legacy of the “Goldberg Variations” but also establishes himself as a notable interpreter of Baroque keyboard music. This recording is an essential listen for anyone interested in a fresh and vibrant take on an enduring masterpiece.
