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Transcribed, arranged, performed and produced entirely be the guitarist
Kurt Rodarmer, this disc breathes of his total and unassuming love
for the music.
In
his essay in the notes, Rodarmer tells us in very clear terms the
transcription difficulties of the project. Faced with a work written
for ten fingers, it was impossible to use conventional methods of
transcription to rework the Goldberg
Variations for a solo guitar with only four fingers to stop
notes. To capture as much as possible, Rodarmer decided to record
the transcription in multiple parts, recording each line separately
and mixing them together. The pieces were thus performed on two
to four guitars. To some this may seem inauthentic or compromised
- but the result is very compelling. The interplay of the various
"Rodarmers" playing with "each other" is actually more delightful
than the idea suggests!
Rodarmer's
dedication to the project is demonstrated further in the fact that
he specially commissioned the famous American luthier (guitar maker)
Richard Schneider to make two special instruments just for this
arrangement of the Goldberg. This was necessary due to the
structure of the score, which would otherwise force the guitarist
to become a finger and hand contortionist.
The special bass guitar which was made extends into the lower ranges
of the cello and bass. In another gesture of humanity and personality,
these guitars are also named: Cassandra (left) and Blanca (right).
(Picture taken from the booklet).
The
tone of the instruments is gorgeous. In the hands of Rodarmer, the
high melodic lines are satisfyingly articulate, often brilliant
and joyful in tone. The bass lines have a nice bloom but are never
cloudy. There is that beautiful and heart-tugging "twang" - that
reverberating tail of phrases not unusual, and indeed so distinctive
of guitar music. Here it adds so much of a vocal quality to the
music. Variation 7, for example, is particularly appealing with
its half-speaking and half-singing character. The pianissimo playing
is exquisite and Rodarmer's fades are often beautifully caught.
The
atmosphere of the performance and recording is intimate but forthcoming.
Rodarmer obviously believes in the beauty of the music and does
his best to bring them to you. In the 5½-minute Variation 13, intimacy
marries with the music, producing a long stretch of Bach in a melancholic
yet tranquil mood. Accused of being incapable of true pianissimos,
the harpsichord seems to lose out when you listen to the guitar
version of the quiet pieces, such as Variation 15.
The
recording is occasionally just a touch too close, but this is not
necessarily a bad thing. Sometimes the resultant clarity can be
quite compelling, as in Variation 12, "Canon on the Fourth" where
so many of the qualities I've been trying to describe can be heard.
Indeed, the Canons are among the most appealing pieces in
the set.
I
was very moved by the final piece, the Aria da Capo, which
recaps the original Aria. Again, Rodarmer's feeling for the
music is very moving, and he seems almost unwilling to end - and
leave - the music. By comparison, the opening Aria seems
to have the hint of an exploratory tone, quietly entering the world
for the first time. In the final Aria, he plays with infinite
sadness and wistful tenderness. Parting is such sweet sorrow.
I read his notes on the music after drafting this review.
To my complete surprise, Rodarmer's sentiments about the Aria
da Capo are very similar to my listening reaction. He writes:
"The
labor up to this point is such that one is drained at the end. I
sense that Bach is feeling introspective, melancholy, reverant.
While it is notationally identical to the opening aria, the reprise
gives me the chance to present a personal perspective that perhaps
I share with Bach - after having undergone the physical and psychological
exhaustion of the entire series of variations, the Aria da Capo
is the emotional dénouement that enables one to gracefully take
leave of this consuming work."
I
like to call Bach's music "human", for want of a better word. So
it was with great pleasure, admiration and a smile of musical kinship
that I read Rodarmer's last words in his notes:
"I
take a humanistic view of Bach's music. In these variations, I hear
the daily toil of one of the most prodigious men in all history.
... When I hear or play The Goldberg Variations, I feel the sublime
greatness of mankind running through my veins. They have given me
a chance to stand in the light of Bach's genius with my own instrument."
This disc has been
re-released by Sony Classical. You can order it on-line
from Sony or see if it's in the stores. Sony records can be
purchased (or ordered) in Singapore from Sing Discs (Raffles City),
Borders (Wheelock Place), Tower (Pacific Plaza & Suntec City) or
HMV (The Heeren).
CHIA
HAN-LEON has completed his pursuit of
an honours degree in English Literature. When he caught up with
it, he clobbered it over the head with a few well-spewed sentences
and dragged it back to his cave. Best with some lettuce and tartar
sauce.
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181:
30.5.1998 © Chia Han-Leon
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