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13 June 2026
Les étonnantes “Variations Goldberg” du trio Alphea
Frédérick Casadesus

The Goldberg Variations transcribed for string trio? The Alphea Trio have done just that, offering us an unconventional and moving interpretation of this masterpiece by Johann Sebastian Bach.
When this recording first came to our attention, let’s be frank, we were met with scepticism. Johann Sebastian Bach’s Goldberg Variations played by a trio of violin, cello and viola? What next? Why not the Symphonie fantastique on the accordion, or the Ring Cycle on the harp? We thought the artists were taking the unconventional route a bit too far, that they no longer knew how to set themselves apart. A misguided reaction on the part of those who believe themselves to be the guardians of authentic knowledge and who, in that fatal condition of the narrow-minded, lapse into pedantry. ‘There are numerous adaptations of the Goldberg Variations,’ observes musicologist Laurence Le Diagon-Jacquin in the booklet accompanying the double album. Over time, the versions have multiplied, such as Busoni’s version for solo piano, which unhesitatingly cuts out sections and adds a coda of his own devising, whilst Max Reger offers a version for two pianos. Jacques Loussier’s trio provides a fine example of a jazz-style reworking. ”

So, we listened to this recording and found ourselves not only sheepish for having been so foolish, but also delighted to discover the Goldberg Variations in a whole new light. It is true that the aria does not sound as we are used to: the radical simplicity of the harpsichord – or, in Busoni’s version, the piano – gives way to a dialogue whose colour is more reminiscent of chamber music. What’s wrong with that? It’s such a pleasure. A musical stroll, a playful exchange in the best sense of the word – the Alphea Trio know exactly how to offer us a non-conformist and sensual escape.

18 July 2026
« TRIO ALPHEA » : VARIATIONS GOLDBERG
Stéphane Loison

Johann Sebastian Bach’s Goldberg Variations is one of his most frequently recorded works. This composition, usually performed on the harpsichord or organ, is very often played on the modern piano. For so-called Bach purists, Glenn Gould’s recordings of the variations are the gold standard! Oh really, so were they written for the piano? What do Hantaï, Taylor, Rannou, Rousset and Staier think?… It is rarer to hear them performed on other instruments. One can find arrangements for harp, performed by guitar duos, as a quartet, with orchestra, in jazz versions and as string trios. The Alphea Trio presents its version, recorded for Klarté – Klarté KLA 202 – The musicians here use Baroque bows, which offer a clearer sound and a beautiful tone that suits the work’s identity as Baroque chamber music. They possess a certain charm in their unconventional approach, which can only please us—that is our credo. One can appreciate here the way in which they have been arranged and recorded.

Bach possesses such creative power that, however he is played, there will always be that unchanging essence of this immense composer! We must admit – shame on us, you Baroque purists – that this sort of arrangement gives us more pleasure than the various piano versions. The interplay between the musicians, the harmony between the instruments, and the fluidity all make this original interpretation fascinating and full of panache. The pieces were written for two keyboards; here we have three instruments, so we’re certainly better off, aren’t we! Here’s a fine ensemble, a fine album and, to top it all off, a lovely cover!