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Fanny Vicens|Bach: Goldberg Variations

Bach: Goldberg Variations

Fanny Vicens

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In this day and age it’s rare that a novel approach can refresh our way of listening to a famous work. When this does happen, it’s almost always due to a backwards glance : period instruments, historic temperaments, rediscovered musical treatises... Fanny Vicens has gone in the opposite direction.

She makes so bold as to play the Goldberg Variations on an instrument that dates from more than a century after the work itself was written. Her rendition is not an adaptation, however, but a transfer, a transliteration that is entirely faithful to the text. Vicens stands on a path that looks in two directions, each the mirror image of the other : the work acts to reveal the instrument, and the nature of the instrument reflects the intentions of the composer, who explicitly states that his score is intended for a double-manual harpsichord. Bach’s specification was linked to the work’s frequent superimpositions and hand crossings, and a performance on the accordion, with its stereophonic keyboards, provides a demonstration of the spatialized sound reality inherent in Bach’s contrapuntal writing. © Paraty

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Bach: Goldberg Variations

Fanny Vicens

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Goldberg Variations, BWV 988 (Johann Sebastian Bach)

1
Aria
00:05:04

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

2
Variation 01
00:02:11

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

3
Variation 02
00:01:45

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

4
Variation 03, Canone all'Unisono
00:02:24

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

5
Variation 04
00:01:12

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

6
Variation 05
00:01:40

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

7
Variation 06, Canone alla Seconda
00:01:17

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

8
Variation 07
00:02:06

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

9
Variation 08
00:02:07

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

10
Variation 09, Canone alla Terza
00:01:58

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

11
Variation 10
00:01:40

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

12
Variation 11
00:02:33

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

13
Variation 12, Canone alla Quarta
00:02:44

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

14
Variation 13
00:07:19

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

15
Variation 14
00:02:21

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

16
Variation 15, Canone alla Quinta
00:05:44

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

17
Variation 16, Ouverture
00:03:05

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

18
Variation 17
00:02:48

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

19
Variation 18, Canone alla Sesta
00:01:36

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

20
Variation 19
00:01:33

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

21
Variation 20
00:02:20

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

22
Variation 21, Canone alla Settima
00:03:24

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

23
Variation 22, Alla breve
00:01:44

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

24
Variation 23
00:02:31

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

25
Variation 24, Canone all'Ottava
00:03:01

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

26
Variation 25
00:08:19

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

27
Variation 26
00:02:19

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

28
Variation 27, Canone alla Nona
00:02:48

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

29
Variation 28
00:02:33

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

30
Variation 29
00:02:36

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

31
Variation 30, Quodlibet
00:02:29

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

32
Aria da Capo e fine
00:06:04

Johann Sebastian Bach, Composer - Fanny Vicens, Accordion, MainArtist

2021 Paraty 2021 Paraty

Album review

In this day and age it’s rare that a novel approach can refresh our way of listening to a famous work. When this does happen, it’s almost always due to a backwards glance : period instruments, historic temperaments, rediscovered musical treatises... Fanny Vicens has gone in the opposite direction.

She makes so bold as to play the Goldberg Variations on an instrument that dates from more than a century after the work itself was written. Her rendition is not an adaptation, however, but a transfer, a transliteration that is entirely faithful to the text. Vicens stands on a path that looks in two directions, each the mirror image of the other : the work acts to reveal the instrument, and the nature of the instrument reflects the intentions of the composer, who explicitly states that his score is intended for a double-manual harpsichord. Bach’s specification was linked to the work’s frequent superimpositions and hand crossings, and a performance on the accordion, with its stereophonic keyboards, provides a demonstration of the spatialized sound reality inherent in Bach’s contrapuntal writing. © Paraty

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