Víkingur Ólafsson & Consortium
Monday evening saw a curious pairing of repertoire and performers at the Melbourne Recital Centre.
Part One was a program of English consort music of the sixteenth and seventeenth centuries played by the local viol ensemble Consortium, while Part Two featured Icelandic pianist Víkingur Ólafsson playing Bach’s Goldberg Variations. If there was an artistic rationale behind the coupling, it has eluded this commentator: on the one hand, a group performing on period instruments, communicating the music in the style and spirit of its day; on the other, a soloist playing an instrument far removed from any instrument known to the composer, and with scant regard for the composer’s notation or contemporaneous performance conventions.
Bach had a considerable knowledge of music of the sixteenth and seventeenth centuries. His liturgical position required that he regularly conduct late Renaissance and early Baroque motets, and as a student he copied out many keyboard works from Frescobaldi onwards. But he was almost certainly unfamiliar with the twenty minutes or so of English music performed so beautifully by Laura Vaughan, Ruth Wilkinson, Reidun Turner, Victoria Watts, and Laura Moore on this occasion.
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