<<  -- 6 --  Bill Newman    TRUE MUSICAL MEANING

The range of Alba recordings starts with a truly breathtaking performance of Bach's Goldberg Variations, subtitled Air with different alterations. I was trying to think back to past recordings by Landowska, Tureck, Haskil, Arrau, Serkin, Kempff, to visualise the kind of individual treatments brought to bear on this monumental score. The overall aim, I think, is to create an architectural edifice that becomes 're-created', in turn, by the various personalities of different performers. While the initial statement with subtle changes becomes obvious at the outset, what happens in the process of elaboration by altering the foundations upon which the theme rests, changes the usual order of development and harmonisation in addition, so that new forms of expression take place prior to restatement of the theme at the end. The performer enters into Bach's challenges to become totally involved in something unique in the course of new musical thinking. Lauriala's concentrated revelations merge the music's poetic and dramatic standpoints. [Alba ABCD103 52'42"]

In Die Kunst der Fuge (The Art of Fugue), Bach widens the dimensions and focus of his explorations. His method of experimenting with different combinations of voices takes on other aspects of dance-like origin, colorations, inversions of theme and so forth, that possess endless permutation. I like to hear conductor Hermann Scherchen's various instrumental readings where alternative performer groups trace the personal developments of style and devotional interest as part of Bach's discoveries throughout life. Likewise, I believe that Lauriala accepts a similar commitment to the great German conductor by altering his mode of style and approach to suit the composer's musical demands. The music 'stops' suddenly where the composer laid down his pen. [Alba ABCD 151 79'02"]

The Six Partitas for keyboard, here coupled as Nos 1, 2 and 6 (for disc 1) and 3, 4 and 5 (disc 2), illustrate just how Bach elaborates his material to the differing demands of each work. This would suggest that the six-movement Partitas 1 and 2 can be phrased differently in longer continuous strands compared to the more elaborate seven-movement Partitas 3 to 6 inclusive. I am aware of this when listening to these performances; for instance the kind of rubato employed is simpler and less obvious in the longer phrases of the earlier works. When Bach 'branches out' into other dance forms, included in the remaining three works, the stilted emphases in certain phrases require accurate placement by the performer, without detriment to the musical flow. Lauriala himself considers this as an eternal problem, and he questioned his own decision to start his London recital with Partita No 4! That was my first confrontation with his Bach style of approach, the rhythms intact and held in place by those emphasized 'comma placements' prior to slight phrase quickenings. Correct voicings then became his immediate concern. These are fascinating, singing-style performances from which much can be learnt. I listened to at least two live performances of Partita 4 by other pianists at various periods, afterwards. By comparison, their playing was straight, sometimes lumpy, with no attempts to arch the phrases in a melodious fashion. I didn't recognise the music as the same work I heard at St Johns. [Alba ABCD 101: 1-2. 73'24",72'57"]

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