Su	Mo	Tu	We	Th	Fr	Sa
31	1	2	3	4	5	6
7	8	9	10	11	12	13
14	15	16	17	18	19	20
21	22	23	24	25	26	27
28	29	30	1	2	3	4

Ketil Haugsand - Johann Sebastian Bach: Goldberg Variations, BWV 988 (2002)

Posted By: Designol

Date: 17 Jun 2022 14:55:51

Establishing a telling and plausibly individual post-Gouldian solution to the Goldbergs has unsurprisingly come more from the likes of pianists Angela Hewitt and Murray Perahia than a generation of harpsichordists, a view reinforced when one revisits the studied hauteur of Gustav Leonhardt’s pioneering 1964 recording (Teldec, 3/96 – nla). Amongst others, we have since recognised Pierre Hantaï’s decorous 1992 Gramophone Award-winning account for Opus 111, and yet even such a vital and alluring account as this has barely impacted on the ‘mainstream’ consciousness of the work’s interpretative possibilities. For all the technical differences between the piano and harpsichord which have contributed to such divergent lines of enquiry, this remarkable set of 30 Variations badly needs a harpsichord performance which projects the various layers of meaning and characterisation in a cohesive whole and, crucially, which makes the harpsichord sound warm, generous and palatable over 70 minutes.

Ketil Haugsand has produced just this. He is a player whose rhetorical capabilities and stubbornly musical instincts have found a rightful home in this masterpiece. Like his resplendent and woefully under-acknowledged reading of the Six Partitas (Simax, 1/95), Haugsand starts from a position of sonority. This may seem a vaguely dubious observation but it gains credence when one hears how he allows his measured tempi to enrich the harmonic fabric so that melodic articulation moves completely at one alongside his idea of abstract beauty of sound. His vision is no pushover, however, and you’d be excused for imagining in the early stages – of an account which gratifyingly includes all repeats (the only sensible solution unless one has a compelling sense of breaking the music up beyond its natural bi-partite scheme) – that his reading is even-tempered but quite uneventful. A short-lived concern: for as soon as his spacious exposition (say, the first five Variations) is complete, the lovingly considered registrations combine in a momentum of truly incremental pacing.

Haugsand’s inventive and poetic personality also enables each movement to make its presence felt, as with the infectious jauntiness of Variation 10, the spirited carousel of Variation 14, enhanced by the contrast of resigned pathos from the previous movement, or the clarity of voicing of Variation 23 which is as riotously handled as the halting opening of Variation 19 (like that advertisement of a puppy unravelling the Andrex). The great fantasy, Variation 25, is a profound reflection which maintains its shape against all odds; with many harpsichordists, this is where all neuroses emerge in force. The last two variations are joyous and majestic and wonderfully affirm the journey’s end.

Haugsand has clearly had his fingers and mind marinading in this music for decades. It is as genial, engaging and mature a musical imagination as I have heard in the Goldbergs, especially impressive given that the constraints of performing them on the harpsichord appear even greater by the day, as pianists open up ever-new vistas. This performance throws down the gauntlet, especially with Arne Akselberg’s natural and resonant recorded sound. A truly exceptional achievement.

Review by Jonathan Freeman-Attwood, Gramophone

Johann Sebastian Bach at Allmusic
Johann Sebastian Bach at Wiki

Ketil Haugsand at Allmusic
Ketil Haugsand at Wiki

Tracklist:

01. Aria (04:33)
02. Variatio 1. a I Clav. (02:17)
03. Variatio 2. a I Clav. (01:30)
04. Variatio 3. Canone all' Unisuono. a I Clav. (01:50)
05. Variatio 4. a I Clav. (00:59)
06. Variatio 5. a I o vero 2 Clav. (01:20)
07. Variatio 6. Canone alla Seconda. a I Clav. (01:26)
08. Variatio 7. a I o vero 2 Clav. al tempo di Giga (01:23)
09. Variatio 8. a 2 Clav. (01:45)
10. Variatio 9. Canone alla Terza. a I Clav. (02:10)
11. Variatio 10. Fughetta. a I Clav. (01:29)
12. Variatio 11. a 2 Clav. (02:04)
13. Variatio 12. Canone alla Quarta. a I Clav. (02:34)
14. Variatio 13. a 2 Clav. (03:36)
15. Variatio 14. a 2 Clav. (02:15)
16. Variatio 15. Canone alla Quinta. a I Clav. (04:42)
17. Variatio 16. Ouverture. a I Clav. (02:38)
18. Variatio 17. a 2 clav. (01:52)
19. Variatio 18. Canone alla Sexta. a I Clav.(01:18)
20. Variatio 19. a I Clav. (00:58)
21. Variatio 20. a 2 Clav. (02:11)
22. Variatio 21. Canone alla Settima (02:09)
23. Variatio 22. a I Clav. (01:05)
24. Variatio 23. a 2 Clav. (01:40)
25. Variatio 24. Canone all' Ottava. a I Clav. (02:30)
26. Variatio 25. a 2 Clav. (07:17)
27. Variatio 26. a 2 Clav. (01:36)
28. Variatio 27. Canona alla Nona. a 2 Clav. (01:29)
29. Variatio 28. a 2 Clav. (01:57)
30. Variatio 29. a I o vero 2 Clav. (01:36)
31. Variatio 30. Quodlibet. a I Clav. (01:50)
32. Aria (02:40)

EAC log

Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 18. May 2014, 15:46

Ketil Haugsand / Goldberg Variations, BWV 988

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DR log

foobar2000 1.2 / Dynamic Range Meter 1.1.1
log date: 2015-10-07 16:32:48

––––––––––––––––––––––––––––––––––––––––
Analyzed: Ketil Haugsand / Goldberg Variations, BWV 988
––––––––––––––––––––––––––––––––––––––––

DR Peak RMS Duration Track
––––––––––––––––––––––––––––––––––––––––
DR12 -5.59 dB -20.14 dB 4:34 01-Aria
DR12 -6.52 dB -20.15 dB 2:17 02-Variatio 1 a 1 clav.
DR11 -4.53 dB -18.06 dB 1:30 03-Variatio 2 a 1 clav.
DR12 -3.84 dB -17.62 dB 1:50 04-Variatio 3 a 1 clav. Canone all' unisono
DR12 -1.47 dB -16.18 dB 0:59 05-Variatio 4 a 1 clav.
DR11 -5.17 dB -18.34 dB 1:21 06-Variatio 5 a 1 ovvero 2 clav.
DR12 -2.84 dB -16.58 dB 1:26 07-Variatio 6 a 1 clav. Canone alla seconda
DR13 -6.15 dB -20.80 dB 1:23 08-Variatio 7 a 1 ovvero 2 clav.
DR11 -5.81 dB -18.90 dB 1:45 09-Variatio 8 a 2 clav.
DR11 -5.74 dB -18.67 dB 2:10 10-Variations, BWV 988: Variatio 9 a 1 clav. Canone alla terza
DR12 -2.22 dB -16.81 dB 1:29 11-Variatio 10 a 1 clav. Fughetta
DR11 -5.48 dB -19.08 dB 2:04 12-Variatio 11 a 2 clav.
DR12 -3.06 dB -17.30 dB 2:35 13-Variations, BWV 988: Variatio 12 a 1 clav. Canone alla quarta
DR12 -4.47 dB -18.43 dB 3:37 14-Variatio 13 a 2 clav.
DR12 -5.91 dB -19.14 dB 2:15 15-Variatio 14 a 2 clav.
DR12 -6.50 dB -20.38 dB 4:42 16-Variatio 15 a 1 clav. Canone alla quinta
DR12 -2.14 dB -15.93 dB 2:38 17-Variatio 16 a 1 clav. Ouverture
DR11 -5.07 dB -17.87 dB 1:52 18-Variatio 17 a 2 clav.
DR12 -3.25 dB -17.42 dB 1:19 19-Variations, BWV 988: Variatio 18 a 1 clav. Canone alla sesta
DR12 -6.51 dB -19.72 dB 0:58 20-Variatio 19 a 1 clav.
DR11 -5.33 dB -19.02 dB 2:11 21-Variatio 20 a 2 clav.
DR11 -5.83 dB -18.84 dB 2:10 22-Variations, BWV 988: Variatio 21. Canone alla Settima
DR12 -4.60 dB -18.33 dB 1:06 23-Variatio 22 a 1 clav.
DR12 -4.18 dB -18.47 dB 1:41 24-Variatio 23 a 2 clav.
DR11 -4.50 dB -18.21 dB 2:30 25-Variations, BWV 988: Variatio 24 a 1 clav. Canone all' ottava
DR13 -4.30 dB -20.53 dB 7:17 26-Variatio 25 a 2 clav.
DR11 -3.92 dB -17.36 dB 1:37 27-Variatio 26 a 2 clav.
DR12 -5.36 dB -19.37 dB 1:29 28-Variations, BWV 988: Variatio 27 a 1 clav. Canona alla cona
DR11 -4.56 dB -17.67 dB 1:58 29-Variatio 28 a 2 clav.
DR12 -1.57 dB -15.50 dB 1:36 30-Variatio 29 a 1 ovvero 2 clav.
DR12 -0.31 dB -15.67 dB 1:50 31-Variatio 30 a 1 clav. Quodlibet
DR11 -5.03 dB -20.68 dB 2:41 32-Aria
––––––––––––––––––––––––––––––––––––––––

Number of tracks: 32
Official DR value: DR12

Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 934 kbps
Codec: FLAC
================================================================================

All thanks to original releaser - 1st0m1n

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