Information about the Goldberg Variations CD

For about 40 years I have been fascinated by Bach’s Goldberg Variations. Every time I play this work, I run into the same questions. How fast or how slow should the work be played and should the variations be played in different tempos? If you choose a fast tempo for certain variations, can you physically play all the notes? And what is the significance of the notes that Bach himself wrote in his personal score?

I finally found my answer to these questions after much in-depth study and consideration. For me the solution is as obvious as it is convincing, even if it clearly breaks with the familiar tradition of interpretation.

The graph below shows the size of this break. This is an analysis of the usual choice of tempi in the performance of the Goldberg Variations compared with the result of my approach.

I explain the principles of this approach in this video lecture.


Colleagues on the recording:

“I am very, very taken with your interpretation.

I am inclined to affirm and hear your discovery and research as completely convincing. The tempi are so natural and organic, your rubati also very well placed and inspiring. I listen with excitement and am so happy and glad that such a great revelation has come to you through your musicality and love of the subject. The recording and your harpsichord sounds heavenly too. Great team!!!!

I have a feeling that any honest listener will see this recording as a new reference.”

Martin Stadler, Konstanz, Germany

“I SO enjoyed reading your article and am fascinated by your tempo theory. It’s a very compelling one, and makes complete sense to me. Brilliant scholarship!!”

Jillon Stoppels-Dupree, Seattle, USA

“You play them [Goldberg Variations] magnificently – congratulations! 

The article is absolutely correct. In your playing, one can hear how deeply and seriously you have studied this masterpiece…

In today’s superficial times, no one knows what “tierces coulées” are – you play them in the second bar of the theme. Anyone who doesn’t do that should actually be forbidden by law to continue playing.”

Bruno Weil, Augsburg, Germany

“This is the first time that I really hear it on harpsichord, that it is really harpsichord music.”

Jan Kalsbeek, Zutphen, the Netherlands