Goldberg Relocating Postcolonialism

Even those who may be unfamiliar with his music will likely recognize Johann Goldberg's name in association with J.S. Bach's famous Goldberg Variations, the story behind which is so speculative as to not bear repeating here. Goldberg was in fact a student of the elder Bach's as well as W.F. Bach. So similar was Goldberg's early use of counterpoint, texture, and chromaticism to his teacher's that one of the trio sonatas heard on this album – the one in C major – was actually listed for many years in the BWV as being by Bach. Regrettably for listeners, Goldberg died before his 30th birthday; like Brahms, he was his own worst critic and destroyed copious amounts of his own compositions.

Although these are unquestionably performances of impeccable musicality and taste, I found that Goldberg's tendency to underplay his part at times led to a little disappointment. In the A minor Sonatina of 1816, with its almost obsessional pathos, the two instrumentalists are models of classical purity, but the Pole is a bit static in the slow movement. Their hypersensitivity and immaculately polished use of tone are employed to keep the music within limited emotional confines. Goldberg's reticent way with the A major Sonata-Duo in particular makes the piece emerge as rather small-scale. The recorded balance between the two is relaxed and pleasing in these pieces.