Reviews, critics

Johann Sebastian BACH (1685-1750)
The Goldberg Variations BWV 988, Clavierübung IV (1742)
transcribed for and performed on solo guitar by JÓZSEF EÖTVÖS

There is a seamless movement of moods as each track/Variation flows into the next with only brief breathers. This arrangment, potentially tiring to the listener or 'live' performer, only highlights the organic flow of the Variations as they meld into each other like clouds taking on different shapes. Even within Variation 16 (the "overture"), the break between the two sections is achieved without any sign of interruption. Or try Eötvös' gear-shift between Variations 19 and 20 - faultless. Most of the music has a sunny character, but when placed alongside the moody variations (say 15 and 21, both canons), the contrast can be very stark. Eötvös, Artistic Director of the International Guitar Festival of Esztergom (Hungary), brings out the melancholy impressively.

While listening through the entire CD without touching any buttons, I found the unity of Eötvös' Goldberg to be entirely mesmerizing. Later, as I started to review in detail, skipping tracks here and there, this became much less obvious. Point: if you want to appreciate the art of Bach and Eötvös, let them paint the full picture without interruption.

József Eötvös (left) plays with a casual elegance which never indulges in empty effect, as in Variations 3, 5 and 19, so appealing in their grace of sound and flow. The ease and familiarity of his playing extends even to the trills - often sounding more awkward on guitar than keyboard, Eötvös' delivers these without breaking the fluidity of the phrases (try Variation 10).

Variations 9 and 17 are fine examples of the Bach line in action - listen to how Eötvös makes you follow the line, alternating between upper, middle and lower registers - this is how one would sing the Bach line. You do not merely follow, say, the soprano line, but alternate between whichever line is dominant or most essential in order to, with one voice, sing the whole tune. In this way, the line is not continuous nor linear, and yet, despite its broken, complex appearance, is traceable as a single line in its musical manifestation.