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

Essence is the constant gene which lives in every Variation, no matter how each one looks or sounds like. I found Eötvös' reading of Variation 12 very heartening in the way he brings this vital personality of the Aria from within the Variation. It sort of "reappears" in the Variation, hinted here and there. It is like seeing the father in the son.

With a burst of light in Variation 14, the music is relaunched in Eötvös' singing, scintillating guitar tone. I can't begin to describe the number of ways he can change his guitar's tone-colours - first it is sunny, then half-serious, half-mystifying, then full of innocent awe.

The recording is natural and has just the right amount of bloom to capture the reverberating guitar strings without obscuring the melodic patterns. Expect also to hear Eötvös' sharp intakes of breaths (a good sign, mind you). The brief notes deserve to be improved to make this album even better.

The final variation, the "quodlibet", has an expectant ring to it, half a sense of satisfaction, half of finality. When it ends, it is only the beginning again as the Aria returns. I think Rodarmer captures more of the spirit of unwilling departure and sadness, but like him, Eötvös captures the sense of a great journey completed. But perhaps this is something already essentialised in the music. The great, human Aria is the beginning and the end of the Goldberg Variations, and this is the ultimate expression of the Bach line: a circle - perfect beauty that never ends.