Tognetti’s ACO gives us gold standard Goldberg
BACH’s music, more than that of any other classical composer, lends itself to adaptation and the ACO have a corker for you with its latest tour.
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THE music of J.S. Bach, more than that of any other classical composer, lends itself to adaptation, something he did regularly, filching from his own catalogue as well as those of others to meet is many deadlines.
The aria and 30 variations we know as the Goldberg Variations are one of the Himalayan summits any keyboardist worth their salt will attempt to climb and this glorious work, which comes in at around 75 minutes, has been recorded in various forms as well.
Equally popular among pianists and harpsichordists, one of the recent adaptations by Melbourne duo violinist Zoe Black and pianist-composer Joe Chindamo is one of the most adventurous and enjoyable.
Canadian conductor Bernard Labadie has adapted the work for chamber orchestra and it is this stunning arrangement which is at the heart of the latest tour by the Australian Chamber Orchestra.
Labadie describes it like “the Earth spinning on an orbit — the sun (the Aria) rises at the beginning, and the end; it’s like the seasons’ cycle”.
ACO regulars expect the best, and they are rarely disappointed, but this performance, which takes up the whole of the second half of the program, is something else.
Richard Tognetti leads with beautiful touch and precision, backed by a superb “rhythm section” in harpsichordist Erin Helyard, Alex Wolf on theorbo and bassist Maxime Bibeau, and the 15 players each get plenty of moments in the spotlight.
ODDITY
Bach’s intricate counterpoint and beauty of line is never compromised and the different textures created by Labadie’s astute choice of instrumentation — a violin-viola duet here, a Brandenburg-like tutti passage there — means that the listener who knows the work hears it anew.
It seems unfair to single out any player in such an exceptional performance but a special mention must go to guest violist Stefanie Farrands, from the Tasmanian Symphony Orchestra. I’ve seldom heard better viola playing and her duels with Tognetti and principal violin Satu Vanska were among the many highlights.
Also on the program is a historical oddity — 14 gemlike canons on a Goldberg Ground, discovered in 1974 scribbled inside Bach’s long-lost personal copy of the variations.
They made a delightful hors d’oeuvres for the main Bach meal to come.
The program opens rather sombrely with three pieces Igor Stravinsky wrote for string quartet where we find the composer pushing the boundaries. This is followed by a string arrangement of English composer Thomas Ades’ beautiful Nightfalls movement from the Four Quartets Op 28.
I urge you to catch this concert if you can. It is repeated at City Recital Hall Angel Place on Friday, August 10, at 1.30pm; Saturday, August 11, at 7pm, and Tuesday, August 14, at 8pm, and at Sydney Opera House Concert Hall on Sunday, August 12, at 2pm.
DETAILS
● CONCERT: Australian Chamber Orchestra Goldberg Variations
● WHERE: City Recital Hall Angel Place
● WHEN: Wednesday, August 8