- Lisa Ruping Cheng
- Sep 4, 2020
Updated: Mar 21, 2021
I am still listening on.
Today Lang Lang's recording of Bach's Goldberg Variations was released. As a pianist, composer and educator myself, I am attentively listening to the recording with the scores beside me, for fear that I would miss any detail he put in his playing.
The first impression was that I did not like the sound very much - the edited sound. The recorded sound was different than the audio from the original performance, either in a concert hall or in a studio. I am looking for a clean and crispy sound. At first the dampening sound was clearly disappointing to me. I have a feeling that it was Lang's choice for the echoing sound to mimic a church organ, which may not be in agreement with my modern piano ears!
In the very first few variations it is obvious he right away added a lot of personal expression by ornamentation and decorative treatment to the music. Some parts were rather bold than reserved - I believe I heard additional voices here and there. This approach is new and his own unique signature.
It was not until variation 17 that I started to write down notes - the magic found its way from variation to variation now. He apparently invited listeners to visit a wonderland where gentleness and meditation overrode everything! In my opinion, his virtuosity was found here - not only did he delicately execute contrapuntal Baroque music by keeping different voices independent, he further treated listeners with shades of tones, prolonged melodic lines with incrementally intensifying dynamics. At times I almost felt like listening to Liszt or Rachmaninov. Lang certainly did not hold back his emotions while playing Bach! I believe this is a new element that Lang brought to Goldberg and is what sets him apart from other recordings!
Furthermore, he consistently presented a reflecting and soothing atmosphere for 9 variations. It was so sweet that I indulged myself in the comfort of this chunk of variations and loved the lightness. I can almost see stories being played in front of me - the ones that I want to remember and revisit again and again!
He picked up energy again from Variation 26 on. From here the Goldberg entered into a highly demanding and technically challenging section. I am amazed about how his voicing and clarity was not at all compromised by a fast tempo, and how he was able to avoid heaviness throughout. In particular, his variation 28 was done in a much lighter way - he did not let the tremolo middle part blur or burden the delightful outer lines. Same is found in variation 29. Light and clean. Although the repetitive, solid chords could easily drown the melody lines, he did not let that happen. The frolic 16ths taking turns between hands were flawlessly played. His detached touch technique is too scary to listen to - it is scarily perfect.
The variation 30 was not as grand and loud as I expected. On the contrary, it was interpreted in a more intimate and cozy way. As Lang explained in the introductory online performance today from Beijing, this variation intends to portray an image of family reunion, which makes sense to me and is a valid preparation for the Aria Da Capo.
His introductory live video was just streamed on his Youtube Channel this morning. He played variations 13, 26, and 30, in addition to the Aria. A precious tribute to Bach and Gould, and an inspiring addition to the interpretation of Bach!
