Pierre Hantaï's 1st Recording of the Goldberg Variations
Goldberg Variations, BWV988.
Pierre Hantaï hpd
Opus 111 CD OPS30-84 (77 minutes : DDD)
Reviewed: Gramophone 4/1994, Nicholas Anderson
One of the first things to strike the listener in this new recording of Bach's Goldberg Variations is the fine quality of Bruce Kennedy's copy of an early eighteenth-century instrument by the Berlin craftsman, Michael Mietke. Its character, furthermore, is admirably captured by the effectively resonant recorded sound, a shade too close for some ears, perhaps, but not for me.
The soloist, Pierre Hantai, is a member of a talented French musical family who studied first with Arthur Haas, then with Gustav Leonhardt. His approach to the Goldbergs is tremendously spirited and energetic but also disciplined. What I like most of all about this playing, though, is that Hantai clearly finds the music great fun to perform. Some players have been too inclined to make heavy weather over this piece and I have sometimes been driven to despair by the seriousness with which the wonderfully unbuttoned Quodlibet (Var. 30) is despatched. Hantai makes each and every one of the canons a piece of entertainment while in no sense glossing over Bach's consummate formal mastery. Other movements, such as Var. 7 (gigue) and Var. 11, effervesce with energy and good humour. Yes, this is certainly the spirit which I like to prevail in my Goldberg Variations. But, as I say, Hantai is careful to avoid anything in the nature of superficiality. Not for a moment is the listener given the impression that his view of the music is merely skin deep. Indeed, there is a marked concentration of thought in canons such as that at the fourth interval (Var. 12). Elsewhere, I found Hantai's feeling for the fantasy and poetry of Bach's music effective and well placed (such as in Var. 13).
Little more need be said except that Hantai has taken note of Bach's autograph corrections to the text published in Nuremberg in 1741 or 1742 by Balthasar Schmid. Invigorating, virtuosic playing of this kind deserves to win friends, and my recommendation is that, whether or not you already possess one or more recordings of the Goldbergs, you make a firm commitment to add this one to your library. The Ouverture (Var. 16), the Quodlibet and much else here have an irresistible esprit, a happy conjunction of heart and mind. Another triumph for an enterprising label.'