After recording the second of Bach’s four Clavier-Übung volumes, the harpsichordist Aya Hamada turns now to the last one: the legendary Goldberg Variations. The discography of the work is vast, but here Aya Hamada has chosen to perform it on an exceptional instrument: the 1624 Ruckers belonging to the Musée Unterlinden in Colmar. Recently restored, this harpsichord boasts a palette of rich, authentic tones: dark in the bass, like crystal in the high register. With its unique timbre, this instrument enables the harpsichordist to give full expression to the successive metamorphoses of the poignant initial Aria, on which Bach built his greatest keyboard masterpiece.
Après avoir enregistré le second volume de la Clavier-Übung de Bach, la claveciniste Aya Hamada se mesure à son quatrième volume : les mythiques Variations Goldberg. Si la discographie de l’œuvre est vaste, l’instrument choisi par Aya Hamada retient particulièrement l’attention : un clavecin Iohannes Ruckers de 1624, préservé au musée Unterlinden de Colmar. Récemment restauré, l’instrument déploie une palette de sonorités riches et authentiques : sombres dans les basses, cristallines dans les aigus. Ce timbre unique donne tout son relief aux métamorphoses successives du poignant Aria initial, à partir duquel Bach construit son plus grand chef-d’œuvre pour le clavier.
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