A
Live Performance of Bach’s Goldberg Variations: A Captivating Experience
When witnessing a live performance of Bach’s Goldberg Variations, one must appreciate the event beyond the sheer number of notes played. Bach, known as one of the greatest improvisers, left no specific instructions for interpretation, allowing harpsichordists or pianists the freedom to express their own artistic interpretations. While a performance may be meticulously planned, we must not forget that Bach himself embraced the element of improvisation, adding a sense of flow and spontaneity to his music.
Recently, Víkingur Ólafsson released a new recording of the Goldberg Variations (available since 6 October). True to his style, the recording is characterized by its crispness, clarity, and purity. However, nothing could have prepared me for his mesmerizing performance at the Festival Hall. While his recorded qualities shone through, there was something extra special about this live rendition. Whether it was the magic of the theater or the palpable energy of the audience, Ólafsson’s interpretation transcended the individual parts and became a unified whole.
‘His head bent so low at times his nose nearly brushed the keys’:
Víkingur Ólafsson performs Bach’s Goldberg Variations at the RFH.
Photograph: Pete Woodhead
During his performance, Ólafsson, the Icelandic pianist, was a hypnotic presence at the keyboard. His towering physique leaned so low that his nose almost grazed the keys, adding a poetic dimension to his playing. His physicality not only captivated the audience’s eyes, but it also brought structure to time, framing each variation within a dramatic context. At one moment, they were held in thrilling anticipation, and in the next, they were plunged headlong into the whirlwind of the subsequent variation. While a recorded studio session may curb spontaneity, Ólafsson’s live performance was breathtakingly organic, fueled by the energy of the moment.
Ólafsson’s rendition was filled with original touches that made it truly exceptional. The fugal tenth variation exuded an exuberant panache, while the pivotal thirteenth variation created an atmosphere of intimate communion. In the canon on the fifth, which concluded the first half, Ólafsson discovered a wistful air of loneliness. The second half of the performance was an emotional rollercoaster, with racing scales in one hand and a dancing saraband in the twenty-sixth variation. The spun-out canon on the seventh took the audience on a magical mystery tour. The grand climax and the enthusiastic energy as Ólafsson approached the finish line, along with his exuberant head-tossing as he delved into the quodlibet, garnered an ovation typically reserved for rock stars.
Denial of responsibility! Vigour Times is an automatic aggregator of Global media. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, and all materials to their authors. For any complaint, please reach us at – [email protected]. We will take necessary action within 24 hours.
