CRITICS

Johann Sebastian BACH (1685-1750)
The Goldberg Variations BWV 988, Clavierübung IV (1742)
transcribed for and performed on solo guitar by JÓZSEF EÖTVÖS

by Chia Han-Leon
http://inkpot.com/classical/bachgoldgtro.html

This admirable and beautiful effort by Hungarian guitarist József Eötvös (b.1962) is an essential investment for any Goldberg Variations fan, or Bach worshipper. Not only is the music faithfully (I think almost religiously) transcribed, but the playing is of a very high order, extremely natural, inspiringly beautiful.

Recall my review of Kurt Rodarmer's multiple-guitar transcription (but played alone, then mixed) of the Goldberg in an earlier review - in that version, it can be said that Rodarmer is doing his best to physically capture as much of the original keyboard music. Given, as Rodarmer points out, the difficulty of playing a 10-fingered keyboard work on a guitar with only one hand, it is already quite a thing to transcribe the entire Goldberg for that instrument.

But here, forced or inspired by the music, Eötvös' transcription distills the purest essence of Bach and the Goldberg into a transciption for solo guitar. And truly, I must say, the result is a work of high art that not only does complete justice to but utterly refreshes the music; it is a glorious effort worthy of the name of Johann Sebastian Bach.

Eötvös' sense of the musical Bach line (here comes my interpretation, Yeuk Fan) is very very satisfying, clear but never rigid or monochrome. Let us say that the result you will hear on this disc is the so-many lines of the keyboard original distilled into the lesser (in number) lines of the guitar. The music becomes more essentialised, purer, more concentrated because of this. Not that the original is in any way excessive, but the solo guitar version is, as presented here, like a poetic synopsis. From each line, the transcriber must select the most "essential" bits and reform them to recreate the music, but with less overall material.

It is like, if Bach used four colours to paint a picture, now Eötvös repaints the same picture with two colours. In theory, if a picture is done with only two colours, the difference between the two is the line between one colour and the other. This, expressed in music, may perhaps be a crude visual expression of the Bach line. It is not a thin black "line" per se, but the interaction of a number of lines/colours to create a singular picture. Bach is of course not the only composer who could write beautiful lines, but he is also one of the most intricate and inspiring, like Baroque architecture.

If you can thus distil the line, and still make the transcription beautiful and faithful to the original, then the essence of the Bach line has been successfully captured in greater concision (given that Bach is already quite concise!). What more can I say for Mr Eötvös except that the Goldberg Variations as he has transcribed and performed here make the music sound like it was originally written for guitar rather than the keyboard? Using less colours, he seems to have actually made the picture even more beautiful.

After the heavenly Aria, listen to the joyous pace of Variation 1 (still my favourite), with its natural flow. There is not a hint of rush, and an ample ring of sunny cheer and breezy delight, making one want to get up and dance. From his gorgeous instrument, Eötvös extracts a beautiful interplay of the upper and lower lines, combined with the phrasal nuances, colours and nudges that mark the great guitarists. The hands (and fingers!) often seem to dance with each other - try Variation 3 - an effect much clearer on a single guitar.

There is a seamless movement of moods as each track/Variation flows into the next with only brief breathers. This arrangment, potentially tiring to the listener or 'live' performer, only highlights the organic flow of the Variations as they meld into each other like clouds taking on different shapes. Even within Variation 16 (the "overture"), the break between the two sections is achieved without any sign of interruption. Or try Eötvös' gear-shift between Variations 19 and 20 - faultless. Most of the music has a sunny character, but when placed alongside the moody variations (say 15 and 21, both canons), the contrast can be very stark. Eötvös, Artistic Director of the International Guitar Festival of Esztergom (Hungary), brings out the melancholy impressively.

While listening through the entire CD without touching any buttons, I found the unity of Eötvös' Goldberg to be entirely mesmerizing. Later, as I started to review in detail, skipping tracks here and there, this became much less obvious. Point: if you want to appreciate the art of Bach and Eötvös, let them paint the full picture without interruption.

József Eötvös (left) plays with a casual elegance which never indulges in empty effect, as in Variations 3, 5 and 19, so appealing in their grace of sound and flow. The ease and familiarity of his playing extends even to the trills - often sounding more awkward on guitar than keyboard, Eötvös' delivers these without breaking the fluidity of the phrases (try Variation 10).

Variations 9 and 17 are fine examples of the Bach line in action - listen to how Eötvös makes you follow the line, alternating between upper, middle and lower registers - this is how one would sing the Bach line. You do not merely follow, say, the soprano line, but alternate between whichever line is dominant or most essential in order to, with one voice, sing the whole tune. In this way, the line is not continuous nor linear, and yet, despite its broken, complex appearance, is traceable as a single line in its musical manifestation.

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.

by Jan Hanford:

http://www.jsbach.org/eoumltvoumlsgoldbergvariations.html

Performance: Exceptional
Recording: Excellent

I was so wonderfully surprised when I heard this recording. The Goldberg Variations for guitar? Just one guitar? The answer is an enthusiastic "yes!"

Jozsef Eötvös has perfectly adapted the Goldberg Variations to the guitar and the result is magnificent. The transcription is wonderfully true to the score; if there is anything left out I am not able to perceive it. It sounds like one of Bach's guitar works, there is nothing artificial or forced about this transcription. His transcription has also been published; an important addition to the classical guitar repertoire.

His mastery of both the guitar and this work is impressive, I didn't know two hands could accomplish this level of complexity and contrapuntal fullness. He is no mere technician; he's an exceptional musician. József's interpretation is lovely, with outstanding articulation and sensitive phrasings of the slower passages.

The cd itself is recorded with pleasant reverb that does not interfere with the performance. The Variations have separate track numbers on the cd which is a nice bonus. The only tragedy is that this cd desperately needs world-wide distribution! It is too well-kept a secret and I really wish some recording company would come along and snatch him up for a major distribution deal. (Hello, Sony? Hello, Virgin Veritas? You are missing a real opportunity here.) This cd is a stunning accomplishment and I enthusiastically recommend it.

by Michael Stitt, lutenist

Australia

http://www.ozemail.com.au/~bachlogc/goldberg.htm

Preamble:
- Every very once and while a work of art is readapted - transformed from its original form context, to become an even greater interpretation of art. Such is my affection of Jozsef Eotvos's transcription and CD recording of Bach's masterpiece for the keyboard - The Goldberg variations (BWV 988).
- Eotvos has achieved a major task which many guitarists have ignored or feared - to transcribe Bach's famous variations to solo guitar. We should not ignore this tremendous accomplishment because for someone to undertake this task, has required courage and a deep insight into the structure of the music, and the ability to draw out the essential qualities of Bach's counterpoint and harmonic strengths. That Jozsef Eotvos has succeeded in this is no minor accomplishment, indeed I would go so far as to say that this is the greatest solo transcription for the solo classical guitar since the Chaconne, and the guitar now has another major work added to its rather meager repertoire of works by major composers. The inspiration to undertake the transcription is made clear in the Preface to the score published by Chanterelle:
- "The idea of transcribing the Bach's Goldberg varaitions goes back to 1987. At that time I had been listening to Glen Gould's piano recording, and I became convinced that this work would sound well on the guitar.... I decided to try making the `impossible possible for a solo guitar..."
- Eotvos writes:
- "...Bach transcribed his own works for a variety of instruments or instrumental settings and reworked them accordingly. As each instrument has its own characteristics, transcribing a work also changes the character of the work. So much so that transcribing almost creates a new work. A transcription should create a true work for the guitar and not merely an imitation of the original.."
- This is not the first time that Bach's other instrumental music has been transcribed for the guitar and put into context Bach himself was an avid transcriber. Notable examples are the 5th cello suite and the 3rd lute suite (BWV 995) and the 4th Partita for unaccompanied violin which was later reworked for performance as a Cantata.
- The Chanterelle Edition:
- In reviewing this transcription I turned to the Neue Ausgabe Samtlicher Werke (1977) in order to gain some insight into how fateful this transcription was to the original score. On listening to the CD recording it seemed uncanny that the performance appeared faithful to the keyboard version and to my surprise this was largely confirmed having comparing the keyboard and guitar scores.
- Aria: 2 bars - Chanterelle (1997)
Ornamentation shown in full.
Both Jozsef Eotvos and the publisher have gone to considerable trouble to provide clear commentary to the variations with double scores to illustrate some of the possible ornamentation that can be used in the works interpretation. This attention to detail is exemplified by the explanations for ornamentation at the tenth variation in which each ornament is given in long hand. Eotvos has also written in a double stave in a number of the canons including Variations 3 (Canone all'Unisono), 6 (Canone alla Seconda), 9 (Canon all Terza), 12 (Canone all Quarta), 15 (Canone alla Quinta), 21 (Canone all Settima), 24 (Canone all'Ottava). This use of the double stage is explained by the author, to 'make clearer reading' of the 'architecture'.
- The publisher has also set out the score with much condensing so that many of the variations are accessible without always having to turn the page over, making sight reading possible with unnecessary disturbance. Jozsef Eotvos's fingering of the work is thorough and logical making the work very readable despite the intrinsic complexity of the music. The Edition is nicely presented in a 78 page book.
- The CD Recording:
Eotvos plays a guitar made by Karl Heinz Rommich (1994) and the sound is clear and sweet. Some use of reverberation is used in the sound mixing, however, this is not intrusive. The general description that one can make of the performance is confident with an Artist having a strong technique and moments of considerable brilliance. Eotvos is no beginner, and demonstrates a clear and articulate approach to the guitar and music. Of particular note is his sensitive playing of the G minor variation No.25 which is nothing less than beautiful and haunting.
- Variation 25: Chanterelle Edition (1997)
This is followed by a rapid variation of long run arpeggios with a strong rhythmic treatment alternating between the bass and treble.
- It is quite evident that Eotvos enjoys his material and is concerned about the duration of each note, particularly the canons and the contrapuntal quality of Bach's music. The voices are clear and articulately heard, for example, listen to variation 15 - Canone alla Quinta.
- On a less positive side of the performance is a sense that the tempo slows on the more virtuosic passages, notably variation 23 and 28, but whether this is my prejudice having listened for many years to virtuosic harpsichordist and pianist, is not altogether clear. What is perhaps important to keep in mind is Eotvos's objective in the transposing of the Goldberg variations:
- "A transcription should create a true work for the guitar and not merely an imitation of the original.."
- If we take this point into consideration then perhaps then we can take Eotvos's benchmark without prejudice. All this is not to take the performance out of context given the immense task of transcribing and playing one of the greatest works of variations next to the Diabelli variations of Beethoven.
- Overall, this performance is a brilliant piece of showmanship but not at the expense of drawing out the rich contrapuntal depth of Bach's genius. This CD recording and the Charanterelle edition is a must for lovers of the guitar and Bach Pluckers in general.

Johann Sebastian BACH (1685-1750)
The Art of Fugue
transcribed for and performed on guitar by JÓZSEF EÖTVÖS

by Jan Hanford:

http://www.jsbach.org/eoumltvoumlsartoffugue.html

This cd is remarkable not only for its technical achievement but for its musical depth and sensitivity.

Jozsef Eotvos is an extremely gifted guitarist. He recorded The Art of Fugue on two differently tuned guitars, overdubbing to get each complete piece. His arrangement is mostly for two voices each on the two guitars.

The result is the most joyous version of The Art of Fugue I've ever heard. The recorded sound is close and very clear, absolutely perfect. The separation of the voices is amazingly distinct. I found it impossible to tell that the guitars were overdubbed, the timing and balance are perfect. A lot of talent and, more importantly, a lot of thought went into this remarkable performance. The details and nuances of his interpretation are what make this recording so extraordinary; he has given every phrase special attention. This is no easy task, The Art of Fugue is one of Bach's most complicated and intellectual works. Joszef's performance sings and dances, light as a feather.

The interactive bonus material on disc 2 is an added treat and very enjoyable. It contains some scores in printable PDF format and audio of one of the two guitar tracks, so that anyone can play along with Joszef.

Hopefully, this recording will bring Joszef the attention and acclaim he deserves. He's a gifted musician with an extraordinary vision that should be heard by all Bach lovers.

by Kirk McElhearn
http://www.musicweb.uk.net/classrev/2003/May03/Bach_Artoffugue.htm

József Eötvös, whose Goldberg Variations on guitar were, in spite of a few issues of tempo, a brilliant approach to one of Bach's finest works, brings listeners not only a unique recording but a world premiere with this two-disc set of the Art of Fugue for guitar. Those familiar with the Art of Fugue, and with the guitar and its range, will wonder how Eötvös managed to record this work on such a limited instrument. He made an interesting choice, that of using two eight-string guitars, tuned a fourth apart, and overdubbing them. The result is astounding.

The Art of Fugue is one of the most profound works of music ever written, and listening to the subtle counterpoint of its canons and fugues one is astounded at how Bach took a simple theme and wove around it so many different pieces. Usually played on keyboard - though many arrangements have been made for other instruments - the guitar turns out to be an ideal instrument for this work. The attack and decay of its strings lend an unexpected sound to the music.

Eötvös performs this work with no adaptation or arrangement at all; he plays the score as it stands. The only areas where this doesn't work well are at the high end of his instruments, where the notes sound a bit weak and the decay is very short, but this is par for the course with plucked instruments such as guitars or lutes. Aside from this, Eötvös's recording is exemplary, and his performance luminous. Having four hands to play these fugues lets him dissect them and perform them with much different accents than using only two hands on a keyboard.

Eötvös deploys the full range of effects with his instrument, such as a brilliant staccato interpretation of the Canon alla Ottava, played in the fifth position in his performance. His rhythmic drive is energetic when needed and restrained when most effective as such. The range he is able to cover with his guitars is also impressive, allowing the instruments to play deep bass notes and fleeting treble notes at the same time.

The final, unfinished fugue is played here with almost a sombre tone, at a perfect tempo, but giving more weight to the lower notes, which highlights the density of this great fugue.

One item of interest for guitarists - the second CD in this set is a CD Extra containing scores of some of the fugues and partial recordings so you can play along with Eötvös, like a Music Minus One record.

This recording is truly a revelation - you have never heard the Art of Fugue like this, never heard such a distinctive approach that brings out the texture of Bach's masterful counterpoint. József Eötvös is an excellent performer, and this recording is brilliant.

The Art of Fugue & The Goldberg Variations on guitar

by Peter Grahame Woolf
http://www.musicalpointers.co.uk/reviews/cddvd/eotvos_bach.html

J.S.Bach The Art of Fugue
Recorded in Budapest 2002

J.S.Bach The Goldberg Variations
Recorded in Bratislava 1997

The latest recording of The Art of Fugue quickly convinces you that a seemingly bizarre enterprise is a worth-while one. József Eötvös (b.1962, Pécs, Hungary) is clearly an exceptional guitarist. He established guitar departments in Pécs and at the Liszt Ferenc Music Academy in Budapest, and is the artistic director of the international Guitar Festival of Esztergom, Hungary. His speciality is extension of the guitar repertoire, with arrangements of Chopin, Brahms and, particularly, J S Bach. In Eötvös's experience, most guitarists he has encountered want to listen only to guitar pieces, and other musicians and musical people want to hear piano music only in its original form. His mission is to provide different repertoire for guitarists and for other people "a new colour for well known music".

Eötvös's transcription for the guitar of the Goldberg Variations - "taxing for any performer using two manuals extensively - the guitar version involves additional hardships", he writes - is true to the score, lucid in exposition of the successive variations, but ultimately less interesting for a general listener than The Art of Fugue. That is a real tour de force, and an amazing realisation of an extraordinary conception. He does not attempt the completely impossible; instead he has arranged the Henle edition for two guitars, tuned differently to encompass the full range of a work originally for harpsichord, but also abstract and suitable for other arrangements, which often help to clarify the part writing.

The Art of Fugue is recorded here on two 8-string guitars, overdubbed with consummate artistic and technical skill. There is no artificiality in the result, and Eötvös is able to introduce subtle phrasing and articulation. To increase appreciation, and better understand the music, the second of the two CDs has extra features, accessed by exploring the readme.txt and start.html files on disc 2. The music can be heard in two ways; a complete performance of the whole work on two guitars, with scores in Eotvos's edition to follow, alternatively the parts for one of the guitars are recorded separately for several of the tracks, for aspiring guitarists to 'play along' with Jozsef Eötvös.

The result of it all is as idiomatic and lively rendering of The Art of Fugue as you will find, well recorded in an intimate acoustic, persuasive and untiring to hear at length. József Eötvös has not had an opportunity to visit UK and the time seems ripe for a world tour?

Meeting after 60 Years

József Eötvös Connects Bartók and the Guitar

by Máté Hollós

     The famous Hungarian composer Bela Bartók had no opportunity to meet the guitar. It was neither a folk instrument in Hungary nor were there any guitarists around Bartók during any period of his career.  What might have happened if Bartók had been touched by the voice of this plucked instrument?  Most likely, he would have used it creatively in many different chamber ensembles and been inspired by the historical originality of this folk instrument so loved by the latin nations.
     Originality – this is a key word in understanding Bartók.  He looked for it all the time,  discovering it in music as well as in nature – in everything.  He took folk music as he had found it in the ”clear springs” (as the Cantata profana says) and transferred it to the concert platform – one old tradition to another, newer one – instinctive music-making to composed, artistic music.  He wanted the people of the cities to understand the feelings of people of the villages and found that the most effective way was through the strong influence of folk art on music history.  Bartók arranged folk songs, wrote piano pieces using folk songs without words, and composed instrumental music using the form and other elements of folk music, often without a single note of an existing folk tune.  But, alas, nothing for the guitar…
     The late László Szendrey-Karper, the first significant guitar player in Hungarian musical history, arranged some pieces from Bartók’s famous educational cycle, For Children, for guitar.  Now Jozsef Eötvös, another superb Hungarian guitarist, has been so brave as to ”translate” more of Bartók’s music to this instrument which is near to the piano in sound but requiring completely different technical abilities. (It is terribly difficult to express on its 6 strings what is clearly evident on the 88 keys of the piano!)  Moreover,  Mr. Eötvös has transcribed some pianistically quite difficult pieces here, searching for musical beauty and expression, not ease of playing.  These arrangements are for solo guitar, not for two guitars, which could have made the expression of intensity easier, but would have changed the character of these solo pieces.   This skilled transcriber/player has stayed with the powerful singleminded message of the solo artist, like the explorer deciding to cross the ocean in a handmade rowboat rather than the removed comfort of a steamship.  This is not the first ”expedition” of this kind by Mr. Eötvös: think of his heroic and beautiful transcriptions of the Goldberg Variations and The Art of Fugue by Bach, the Hungarian Dances by Brahms, and a great number of piano pieces by Chopin (the last technically easier but still extremely pianistic in nature).  This choice of technical challenges does not come from a need to appear the virtuoso, though the playing certainly demands a high level of virtuosity, but comes from the same deep musical roots as all of Mr. Eötvös’ work:  this is an artist and guitarist who prefers music to guitar music, an artist who is truly loves and understands his chosen instrument.He has never been satisfied with performing well-known, extant guitaristic works.  It is clear that Mr. Eötvös always seeks to play, with joy, from the greatest heights of music history, sharing his favorite and beloved instrument as well.
     Mr. Eötvös is introducing Mr. Bartók to the guitar 60 years after the death of the composer.   I am sure Mr. Bartok and Mr. Szendrey-Karper are smiling, as will all who give this a listen with their hearts.
     Nothing is impossible in music.
     Nothing seems impossible for such a musician.