Bach: Goldberg Variations (arr. for String Trio)
Trio Zimmermann (BIS)
(scroll down for English review)
齊默曼三重奏即是由小提琴FP齊默曼、中提琴Antoine Tamestit及大提琴Christian Poltera組成，但他們這裏並不是用Dmitry Sitkovetsky的弦樂三重奏版本，而是自己再作改編。雖說「改編」，又不是像把管弦樂改給鋼琴那麼大取捨，亦不像用弦樂四重奏演奏《賦格的藝術》時，小提琴會有一些音符太低而拉不到。《哥德堡》的音樂以三聲部為主，頂聲部基本上都在小提琴音域以內，亦是主要旋律所在。
反而是三聲部沒有那麼明顯的地方，中提琴及大提琴的「分贜」就最有趣，這錄音的混音頗清晣的將小中大提琴放在左中右，單憑位置其實也分得出。中提琴及大提琴經常神不知鬼不覺的你出我入，而且往往在快速之時作無縫轉接。最有心思卻是在雙鍵盤的變奏，它們多數是兩聲部，但隨着音符的升降，兩個聲部有時會在三支樂器間轉來轉去，不過更重要是，音樂本身可能就是有第三個聲部藏在其中。
另外就是弦樂的連奏及頓奏都會比鍵盤（不管是鋼琴或古鍵琴）有更大彈性，這裏最見特效是三個最慢、音符可以很碎的13、15、25變奏，一個連弓，很容易就好聽過鍵盤手要按鍵十次彈十個音。就算是detache弓法（最自然的上弓落弓上弓落弓，一粒音一弓），弦樂手也可以比鍵盤手快而清。於是這個演奏的速度比現在流行的稍快，也可以反轉去想，會不會現在的鋼琴家或古鍵琴家彈得太慢呢？古鍵琴的連奏感可以很強，很容易愈彈愈慢；有些鋼琴家卻又追求以頓奏為基本的「偽古鍵琴」，為了粒粒分明又不敢拉太快，沉溺、故作高深、「靈性」、「形而上」更不在話下。
這個錄音還標榜三支樂器都是Strad，而且三人的發音及技術確實超班，在弦樂三重奏版的《哥德堡》來說，我看是個難以超越的演奏。（還有一點想提：第15變奏三人用了弱音器，感覺很像古提琴，也很有教堂的氣氛。）
Trio Zimmermann is the “powerhouse” string trio of Frank Peter Zimmermann, Antoine Tamestit and Christian Poltéra. In their foray of the Goldberg Variations they didn’t used the common string trio version of Dmitry Sitkotvetsky and did their own transcription.
Goldberg Variations posed much fewer problems than The Art of the Fugue when played on string instruments. This work is mainly three-voiced in the first place, and the prominent melody fits the range of the violin. What’s more intriguing is how the viola and cello share the remaining two voices, or when there are four voices or just two. In this version/performance, the viola and the cello often enter or exit seamlessly. But this recording positioned the three instruments distinctly from left to right so you can always tell which is which. While the four-voiced variations could easily be solved by double stops, the “two manual” variations were often played by all three instruments (though not simultaneously), suggesting that these variations might have a hidden third voice usually not manifested in keyboard performances.
This interpretation is truly enjoyable because the legato nature of string instruments does justice to the original, sometimes even more than a keyboard instrument. The slow variations often feature very dense notes and a string bow can produce them in unmatchable smoothness, something that eludes even the best harpsichordist or pianist. As a consequence, this performance had slightly quicker tempi than keyboard performances we’re now used to. Perhaps the keyboard players are playing the piece too slow? If a harpsichordist is good at producing a flawless legato he or she are liable to play too slow. On the other hand pianists who aimed at a pseudo-harpsichord staccato might play too slow so that the notes are staccato enough, some pianists might like to emphasize the “profound spirituality” of Bach and slowness is the ready answer.
The three players here all had a Strad at their disposal and they were truly star soloists. Their sound production and accuracy were at the highest level, making this recording very difficult to surpass. A little P.S.: in the 15th variation they played with mutes and with the gamba-like sonority this variation never sounded so much like a church piece.