Concert review – Víkingur Ólafsson, Liverpool Philharmonic Hall – 1 November 2023

Performing Bach’s Goldberg Variations is a magnificent achievement for any keyboardist, but to deliver a fresh reading of it while preserving the ingenuity in the score takes something else altogether. It is a work that exposes tremendously the capabilities of a pianist in so many ways. Every so often an artist comes around who displays not only a technical mastery of the work, but a thorough understanding of every voice, harmony, and phrase, whilst stamping their own authority. Tonight was one of those occasions.

Víkingur Ólafsson has been around for a while now, but it feels like he has come to prominence only recently. He has a diverse range of repertoire ranging from Bach to Philip Glass, itself a demonstration of his open-mindedness when it comes to musical taste. Indeed, from the first Aria to its da capo, I heard details brought out in Bach’s composition that I have never noticed before, owing to Ólafsson’s thoughtful approach. And this is exactly how Bach should be played, given the improvisatory style of his day.

Some of the virtuoso passagework – like in the fifth variation, for example – was taken at breakneck tempo, very much reminiscent of Glenn Gould’s 1955 recording. But there was also a crispness and precision here, too – every note could be heard clearly. Pedal was used sparingly and never interfered, and repeats were observed, as they ought to be, with much variety the second time round in terms of phrasing, articulation and ornamentation. The quieter moments, like in the first minor variation, were delicately managed with a tonal palette of almost organ-like colours, and the intricate nuancing was at times spellbinding.

There was rightly no encore despite the rapturous applause from a packed hall; after all, what can possibly follow one of the greatest – if not the greatest – keyboard work ever written?

Posted on: 03/11/2023, 09:03:15