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Johann Sebastian
Bach (1685-1750)
Goldberg-Variationen / Goldberg
Variations
Aria mit verschiedenen
Veränderungen vors Clavicimbals
mit 2 Manualen,
BWV 988 - Clavier-Übung, Part
Four
Version for String Trio by
Bruno Giuranna - world
premiére recording
label:
Velut
Luna CVLD170 |
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theStrad
- February 2010, p.80
review by Tully
Potter
 This lovely,
eminently listenable live recording
serves to introduce an outstanding young
Italian string trio consisting of the
siblings Barbara, Giada and Klaus Broz.
In their naturalness, unobtrusive
virtuosity and close ensemble they
remind me of the original line-up of the
Leopold Trio. It is 23 years since
Dmitri Sitkovetsky published his version
of Goldberg Variations for this
instrumentation and
recorded it with Gérard
Caussé and Misha Maisky.
Bruno Giuranna tells me that he started
modifying that version but soon foun he
was making a new one, wich is used here.
I find the result more convincing than
the Sitkovetsky, although some parts are
inevitably almost identical.
Var. 19 is played in pizzicato and,
where four voices are involved, Giuranna
resorts to double-stops on violin and
viola. In var.23 the violin has scales
in third and sixths.
The playing is so good, so
unified and so consistently beautiful
in tone that is amazing to realise we
are listening to a concert
performance. The initial
statement of the theme is just a little
stiff to start with, but the players
soon relax. The recording quality is as
sympathetic as the musicianship.
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Classic FM - January 2010, p. 59
review by
John Brunning
This recording
of the Goldberg Variations in a version
for string trio is further proof of how
Bach's music is apparently impervious to
the instruments it's played on.
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Classical
Music, Rhingold Publication - the 21th
November 2009, p. 58
review by Phil
Sommerich
 There
are
countless
arrangements
of
Bach’s
meditative epic but this one for
string trio by the violist Bruno
Giuranna goes
to the front rank. Trio Broz
– three siblings- share the melodic
weight, the three lines simple yet
using the strings’ dynamic shading to
create a sense of conversation, all in
stunning hi-def audio quality.
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 Amadeus - March
2008, p. 87
review by Emilia
Campagna
Thanks
to
their speculative character, the
Goldberg Variations, a monumental page
in harpsichord repertoire of Bach, have
been performed on several
transcriptions, for solo instruments
(such as the harp) as well for chamber
ensemble. The version for string trio by
the Russian violinist Dimitry
Sitkovetsky knew for example certain
luck; in addition to this now, for the
same ensamble, we can hear the
transcription by Bruno Giuranna, which
is actually not recently, because he
wrote it for his string trio - Trio
d'archi Italiano -, but it never landed
circuits of publishing and discography,
and remained fast unknown. Now the CD of
Velut Luna let us hear this interesting
and successful transcription which
distributes the counterpoint in the
sounds of the violin, the viola and the
cello (often actually we can see three
lines in the score for harpsichord) with
a new plasticity and transparency for
the complex composition, in several
moments extraordinarily vivid and
immediate. The Trio Broz
prepared the execution under the
guidance of the same Giuranna and thus
the interpretation accurately reflects
the aesthetic idea of the transcriber:
far from the logic of philology and the
"Baroque sonar," the execution of the
Trio Broz seems to tend towards the
classical idea of purity, of perfect
balance, in a bright and anodyne
treatment of the complex musical
material.
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Il Sole 24 ore
- Sunday the 8th February 2009, p.38
review by Carla Moreni
Bach
had
a student named Goldberg. He was
protected by Count von Keyserling, who
was suffering of insomnia. So the
young musiciann asked Bach a
speculative and seductive composition
for harpsichord, that he could play
during the night. The history of the
Goldberg Variations is known. But now
goes on: a legendary Maestro of viola,
Bruno Giuranna, born in Milan, famous
throughout the world, transcribed for
string trio the Goldberg. He gave it
to a wonderful young italian Trio
(although the name "Broz" is
deceiving) formed by three siblings,
grew up in the music between Verona,
Salzburg, Rome and Fiesole. The album,
world premiére recording, gives
a rare pleasure. Bach
sounds magnificent: more singing,
more colours, thanks to this version
for strings. Bravo Trio Broz: a lot
of poetry.
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Corriere della
Sera - Sunday the 11th January 2009, p. 42
review by Enrico
Girardi
Like
all
'speculative'
music
of
Bach, the Goldberg Variations
are adaptable at a transcription that,
if done according to the book, shows
in another light some aspects of the
original score. And this is the case
of this transcription for string trio
written by Bruno Giuranna and
performed by Trio Broz, that is the
siblings Barbara (violin), Giada
(viola) and Klaus (cello). A beautiful
disc also because - as the transcriber
wrote - the variations, especially
those for two or three voices, are
designed for different instruments in
the writing of Bach. In
addition,
the use of different instrumental
techniques gives to the famous
series a variety of timbres
unthinkable only with the
harpsichord. It works even thanks
the excellent harmony betweeen the
musicians. Score and parts
available on www.brunogiuranna.com.
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 Classic Voice -
December 2008, p. 64
review by
Giancarlo Cerisola
To
alleviate the seriousness that hovers
around Bach and these famous rigorous
geometric variations, you usually
simplify the genesis of the work
telling that it were intended for the
harpsichord of his pupil Johann
Gottlieb Godberg: he could alleviate
the sleepless nights of Count von
Keiserling by performing. Actually,
this transcription seems made to take
awake even who wanted to take a nap,
this is the vitality that springs from
unraveling the dense contrapunt, much
clearly than possible with the
keyboard alone. Following the example
of the Bach and his contemporaries -
who created masterpieces by
transcribing own or other people's
works - the Goldberg Variations were
during the centuries repeatedly
transcribed for various organic. Among
the most original ones there is
certainly this version, by the
violinist Bruno Giuranna, member with
Gulli and Caramia of the unforgettable
Trio
Italiano
d'Archi,
whose
possible
successors
seem
to
be
Barbara and her siblings Giada and
Klaus, with an interpretation full
of young vitality.
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