This is the first time start pianist Lang Lang records a big Bach piece, having recorded only short samples for few collections. Although generally associated with large virtuoso repertoire, Lang Lang does perform and record classical repertoire such as Mozart and Beethoven, where more modest qualities of his playing come to light. This new Goldberg Variations release finds him bridging musical objectivity and strong personality.
In the (many) promotional materials for this album, the pianist said he plays and studies the Goldberg Variations for 20 years, and his performance is clearly considered. He always ads interesting ornaments and variants in dynamics to the second repeat of each variation, and there is a constant bit to the complete cycle, making it feel like a whole even on the slow variations. This continuous perception makes for some unique tempo choices, as in the variations 13 and 25 (“Black Pearl”), which are slower than most, or variation 19, which is given a jumpy character. That’s not to say Lang’s performance is overly calculated. In fact, the first 10 variations are delivered with high spirit and are the more successful succession of this performance.
Above all, there is a singing quality and a lovely tone. Lang’s dynamic range for Bach is wider and has more contrast than, say, Perahia or Tharaud, both of which are two of the best digital versions. Lang’s bass line is stronger and he sometimes emphasizes the bar lines, a bit too much in the declaratory variations as No. 1 and 10. There is good voice leading and transparency, though, and as always with Lang, a showmanship in the fast variations – not a bad thing when you consider how difficult these variations are.
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This is a unique set of Goldbergs, which says a lot. If one tries to find influences, there is a slight resemblance to Rosalyn Tureck’s performances, where some voices are put on the shadow in order to highlight a certain phrase (var. 9). Another performance which resembles Lang’s in some aspects is Beatrice Rana’s impressive version (Warner Classics), both taking the opening Aria slowly and maintain a continuity of rhythm (Rana is less creative with repeats).
As always with Lang Lang’s releases on Deutsche Grammophon, one cannot just buy into a single product; there is a “mini-documentary series”, signed autographs social campaigns, high profile news conferences, and a new set of images, over 25 of them are included in this new set. The “deluxe edition” includes another live performance of the variations, made shortly before the studio recording at Bach’s own church, the St. Thomas Church in Leipzig. The live version certainly worths the price of admission (around 25% more, in my calculation) – there is additional freedom, almost recklessness, in this alternative live performance, sometimes at the expense of accuracy, and Lang’s showmanship, at times, gets the better of him. But it’s interesting to observe how the pianist adapts the narrative to new acoustics and added audience.
The studio recording catches the subtleties of Lang’s pianism well, sometimes on the verge of being too clinical – one can sense the microphone separations given to the different registers of the piano. Sensitive listeners may also notice a slight change in tuning and voicing of Lang’s instrument in the second half of the cycle.
When writing the 3-part guide to the best recordings of the Goldberg Variations, I was astonished by the number of good performances, trying to locate 3 or 4 exceptional versions. Does Lang Lang join this select group? Maybe time will tell; certainly not instantly. But I for one will go back to this new version, if only to re-listen to Lang’s interesting handling of the repeats, holistic perception, and impressive pianism.
