Volume 17 Issue 8 - May 2012

to be in the elite few. The opening Aria wasbeautifully shaded and his control of quickpassagework in succeeding variations wascrisp and articulate. I enjoyed his smoothlines which created an extremely musicalflow in spite of the many embellishmentsand busy counterpoint. His playing wasalways controlled, yet incisive without beingmetronomic. His sensitivity to the tempifor each variation made for engaged listening.Jalbert’s tonal quality is not as warmand sweet as Dinnerstein’s or Perahia’s buthis command and power at the keyboardis unquestionable. I found his trills to beremarkably even and precise. What makesthis recording work for me is that Jalbertdiscovered the thread that links each variationand he made the performance a cohesivemasterpiece.I also like the liner notes by Robert Rival.I found his writing very informative andrevealing from a composer’s perspective. Itbrought to life Bach’s complex and virtuosiccomposition technique in creating this remarkableand timeless work of art.Released this year, the DVD of DanielBarenboim’s performance of Bach’sGoldberg Variations was actually recordedin 1992 and I was surprised to hear such asensitive and musical interpretation. Pastperformances have not always lived up to expectationsin tonal quality. This performanceexudes energy and deep emotional commitmentto the work. Barenboim uses a widerange of dynamics and articulations to createthe instrumental sounds from Bach’s time.He makes pianistic references to thefamous high trumpet, the oboe, the stringfamily and the organ. Barenboim has createdan orchestra from the piano. This is no surpriseas he is a highly respected conductorand it shows in his “orchestration” of eachvariation. His faster variations are dance-likeand real toe-tappers. However, despite thespeed or tempo he never loses his refinedtouch and exquisite control of the rhythmand ornaments. Each variation breathesmusically, dances, sings or speaks in a contemplativemanner. Although linked, eachvariation tells a unique story.Anthony Short in his excellent programnotes wrote that if Bach’s early biographerJohann Forkel is to be believed, when Bach’sextended family got together they oftenstruck up a chorale that would mix spiritualand serious songs with comic and scabrouspopular tunes of the era. These improvisingharmonies produced a quodlibet which is acontrapuntal combination of several differentpopular songs featuring a selection oflowly brassica vegetables such as the tune for“Cabbages and turnips have driven me away,had my Mother cooked meat, I’d have optedto stay.” I feel that Barenboim captured thespirit of this quodlibet in several of the variationsas well as the reflective and spiritualquality of some of the other variations.Both Barenboim and Jalbert have virtuosictechniques and the ability to casta spell when performing this work. Bothhave the communicative and musical skillsto take their place in the elite group ofGoldberg performers. If I had to choosebetween Jalbert and Barenboim I wouldpick Barenboim. His playing had a greaterrange of tonal colour and dynamics. I don’tmean dynamics as simply loud and soft butdynamics that created different moods andinstrumental soundscapes. I also thoughthis warm touch gave him a slight edge overJalbert. I would love to hear Jalbert recordthe Goldberg many years from now. I wasmesmerized by his recording now but whatan amazing performance he will give in theyears to come. We are so lucky to have anartist like David Jalbert in Canada.Picking your favorite Goldberg CD issuch a subjective experience. Do any ofthem knock Gould off his iconic pedestal?Depends on the day but I believe that thesetwo recent performances join him in thatspecial group with others which are certainto come. This is indeed a testament tothe great J.S. Bach whose music continuesto be such a joy and revelation that weforever keep searching and learning fromhis masterpieces.—Christina Petrowska Quilicoclassical & beyondBach; Ysaÿe; OesterleAisslinn NoskyIndependent IF004www.aisslinn.comSuite InspirationJonathan SwartzSoundset SR1039www.Jonathan-Swartz.comThese are twofascinating discsboth of which featurestrong performancesof the musicfor unaccompaniedviolin by J.S. Bachand other more modernpieces whichreflect and refractthe glorious light ofBach’s works.The irrepressibleand omnipresentAisslinn Nosky isone of the Torontomusic scene’s precioustreasures.As this, her debut solo CD, proves, she ispossessed of a rock-solid technique andan open and probing musical mind. Threeextended pieces for solo violin make up theprogram: the Partita in E Major by Bach,Eugene Ysaÿe’s Sonata Op.27 No.2 andStand Still, written especially for Nosky in2011 by the German-Canadian composerMichael Oesterle.Oesterle’s captivating piece is both minimalistand lyrical and exploits the “voice”of the violin to great effect. Nosky’s performance,with its varied dynamics andarticulation, brings out the fanciful characterof the music as well as its fragility. TheBach partita and Ysaÿe’s sonata are inextricablylinked thematically and are both givenluminous performances here. Nosky’s playingand musical intentions are crystal clearthroughout and her free and bright sound iswell supported by the fine production valuesof the disc.The Toronto-born violinist JonathanSwartz was educated at Rice University andMannes College, and teaches at ArizonaState University, where he is active as asoloist and chamber musician. His cleverlytitledCD Suite Inspiration is filled withdance movements for solo violin by JohannGeorg Pisendel, J.S. Bach and the Canadiancomposer Kieren MacMillan. Followinga chronological order, Swartz begins thedisc with the weakest piece, unfortunately.Though it is given a convincing performance,Pisendel’s A Minor Sonata doesn’t haveenough interest to either move or entertain.The highlight of the program is MacMillan’sSuite No.1 and intriguing Chaconne,which — with its hypnotic, circular patterns— provides a trance-inducing, deeplysatisfying conclusion to Swartz’s program.Both Nosky’s and Swartz’s performancesof Bach’s works are brave and thoughtful.My fondest wish for both players – if it’s nottoo corny to say — is that they keep searchingtheir hearts for ever deeper ways tobring this music across, and that they keeprevisiting this repertoire, as I know they will,throughout their careers. There is a delicioussense of abandon in Nosky’s live playing thatis captured thankfully in spades, in her recordingof the E Major Partita, especially inthe outer movements. Swartz’s performanceof the D Minor Partita, with the biblicallyproportionedfinal Chaconne, is a little morereserved and careful and is at times marredby questionable ornamentation choices.These are two welcome additions to anyviolin-lover’s collection. Bravo to both playersfor commissioning new works fromexcellent, imaginative composers and forsharing their musical “voices” so generously.—Larry BeckwithChopin Recital 2Janina FialkowskaATMA ACD2 2666Chopin – Volume 2Louis LortieChandos CHAN 10714Two artists, each presenting a second instalmentin their Chopin discography, inviteus to ponder their muse through the musicof Chopin.While both Louis Lortie and JaninaFialkowska record on Steinway pianos, theirsound is remarkably different. The Lortie/May 1 – June 7, 2012thewholenote.com 63