By Carsten Dahl (former employee)
In my very thorough and fundamental work with Bach's music, which represents a reinterpretation of the masterpieces The Well-Tempered Clavier vol. 1, the Goldberg Variations and my own self-composed Chromatic Inventions (dedicated to Glenn Gould and Jan Johanson), a rigorous dogmatism has been applied in relation to the methodology.
The works were to be recorded in accordance with Bach's own compositional approach, which means that the form language, articulation, trills, melodic directionality, recitative-related aspects, ambiguous rhythmic and harmonic complexity, understanding of mathematical subdivisions and respect for the horizontal and vertical dimensions in music should be included and provide the basis for my personal interpretations.
VIDEO: BACH'S GOLDBERG VARIATIONS FOR PREPARED PIANO
In the video-interview below now former professor at RMC Carsten Dahl reveals the philosophical and artistic intentions behind his interpretation of Bach's monumental Goldberg Variations (BWV 988) and how the actual research process evolved.
Dahl touches upon timbral intentions of "death, rattle and noice", of his rhythmic alterations bringing forward Latin-american and African polyrhythmic sensations, of approaching the piano as a drum ("a harp with skin") and of following the foot steps of Bach as a "spiritual archeologist".
Please enjoy the whole interview with Dahls reflections on his artistic research:
Or get a taste through a five minute resume: