The BBC Proms series holds scant interest for me so I seldom watch any of the broadcasts but skipping through the channels yesterday evening, I stumbled across Andras Schiff and the Goldbergs. I'm so glad I did. I have admired Schiff's playing for many years; he is possessed of a prodigious technique and this was employed to superlative effect in this performance. I thought it an inspired inclusion in the programme but I imagine a little taximg of the average Promenader's attention span.
The Goldberg Variations, (along with his Canonic Variations and Brahms's Handel workings), have to be the greatest written in this genre and I really enjoyed Schiff's offering. My only criticism related to a few instances in the slower movements where Schiff applied some trills, shakes, mordants and what-have-you which I felt were superfluous. The harpsichord (and, indeed, the early forte-piano) had little sustaining power and required such devices; these hardly are necessary with a nine foot grand. But this really is to quibble. The pianist did, however, start these curlicues on the upper note - sadly, a convention seldom observed by modern musicians.
For me, Rosalyn Tureck remains at the pinnacle of keyboard performances of Bach but I'm delighted I witnessed this wholly unexpected treat.
Incidentally, I was slightly puzzled by the Fabbrini involvement with the recital instrument. Am I correct in thinking Steinway may have purchased Fabbrini? It would seem odd if they had countenanced such a public display if this was not the case.
The Goldberg Variations, (along with his Canonic Variations and Brahms's Handel workings), have to be the greatest written in this genre and I really enjoyed Schiff's offering. My only criticism related to a few instances in the slower movements where Schiff applied some trills, shakes, mordants and what-have-you which I felt were superfluous. The harpsichord (and, indeed, the early forte-piano) had little sustaining power and required such devices; these hardly are necessary with a nine foot grand. But this really is to quibble. The pianist did, however, start these curlicues on the upper note - sadly, a convention seldom observed by modern musicians.
For me, Rosalyn Tureck remains at the pinnacle of keyboard performances of Bach but I'm delighted I witnessed this wholly unexpected treat.
Incidentally, I was slightly puzzled by the Fabbrini involvement with the recital instrument. Am I correct in thinking Steinway may have purchased Fabbrini? It would seem odd if they had countenanced such a public display if this was not the case.
- even so, the Diabellis should have been included!
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