^{FIRST PUBLISHED 21 FEBRUARY 2026}

Nathaniel Mander is widely regarded as one of the leading harpsichordists of his generation. He is celebrated for his poetic interpretations, expressive depth, and commitment to bringing the instrument to new audiences. Through his studies in the UK and across Europe, he has developed a distinctive, highly personal, and authentic voice at the keyboard.

Mander’s debut solo album, recorded in 2020 and released on ICSM Records in 2022, featured JS Bach’s sublime Goldberg Variations, performed on his Andrew Garlick harpsichord. The recording was met with widespread critical acclaim, including a rare 10-star review from the Dutch classical music magazine Luister.

The Goldberg Variations remain central to Mander’s repertoire. In this feature, we present his performance of the work, recorded live at St Martin-in-the-Fields, London, on 12 July 2024. Reflecting on the piece and this particular performance, he says:

‘I've always loved the variation form. Mark you, it's the Classical period and the genius of Mozart and Haydn that really takes the genre to its apex. The simple tunes so popular in the later half of the 18th century lend themselves naturally to whimsical twists and turns of passagework and elegant, transparent textures which make the variation form so endearing.

‘So when Bach comes to write his Goldberg Variations (1741) as a man firmly rooted in the traditions of the past, and by his own admission, not a fan of the form, the end result is quite enigmatic. As we all now know, the variations are not formed on the opening delicate aria but on the underlying harmonies that define it. This allows Bach to unleash the full force of his technical mastery of counterpoint, thereby freeing himself from what can be a limiting genre. Throw in the tale concerning a young virtuoso pupil and his discontented, sleep-deprived wealthy employer, and you end up with a piece that has the weight of a legend.

‘But what art! It's no wonder that this piece attracts a cult following both from performers and listeners. I, myself, am not from this set, but I know of no other music quite like it and the urge to discover this wonderful creation was eventually irresistible.

‘I connected with the tonality of the piece. It's rare to find such a long work saturated in just one key centre, but G major is a beautiful key; it's bright and optimistic and the strong dance rhythms imbued in each miniature jewel of a variation make for compelling listening. When Bach does touch on the minor mode (three times), the effect is disarming and truly sublime.

‘I've come to perform this work many times now and I always relish the opportunity (it works wonders on the technique!). This performance is from a live concert given at St Martin in the Fields last summer including a light introduction and a fantastic audience whose response was cracking. They say you can't follow the Goldberg Variations with anything but I always do - here I play a truly beautiful short sarabande composed by the grandfather of the great harpsichord tradition, Jacques Champion de Chambonnières. Let us follow Bach's instruction in the preface to this work and allow ourselves, as music lovers, to have our spirits refreshed by such wonders.’

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PROGRAMME
JS Bach Goldberg Variations, BWV 988

^{Aria – Variatio 1. a 1 clav. – Variatio 2. a 1 clav. – Variatio 3. Canone all’unisono a 1 clav. – Variatio 4. a 1 clav. – Variatio 5. a 1 ô vero 2 clav. – Variatio 6. Canone alla seconda. a 1 clav. – Variatio 7. a 1 ô vero 2 clav. al tempo di Giga – Variatio 8. a 2 clav. – Variatio 9. Canone alla terza. a 1 clav. – Variatio 10. Fughetta a 1 clav. – Variatio 11. a 2 clav. – Variatio 12. a 1 clav. Canone alla quarta in moto contrario – Variatio 13. a 2 clav. – Variatio 14. a 2 clav. – Variatio 15. Canone alla quinta a 1 clav. Andante – Variatio 16. Ouverture a 1 clav. – Variatio 17. a 2 clav. – Variatio 18. Canone alla sesta a 1 clav. – Variatio 19. a 1 clav. – Variatio 20. a 2 clav. – Variatio 21. Canone alla settima – Variatio 22. a 1 clav. alla breve – Variatio 23. a 2 clav. – Variatio 24. Canone all’ottava. a 1 clav. – Variatio 25. a 2 clav. Adagio – Variatio 26. a 2 clav. – Variatio 27. Canone alla nona. a 2 clav. – Variatio 28. a 2 clav. – Variatio 29. a 1 ô vero 2 clav. – Variatio 30. a 1 clav. Quodlibet – Aria da capo è fine}
Encore
Chambonnières Sarabande

Nathaniel Mander performs on his own harpsichord, an exquisite copy of a mid-18th century French harpsichord made by Andrew Garlick.
Filmed at St Martin-in-the-Fields on 12 July 2024
Maintenance, tuning and temperament by Oliver Saendig
Sound and visuals by Tom Mungall

Visit Nathaniel Mander’s artist profile page to view his upcoming live performances. He has also launched a 16-part online masterclass series exploring the rich sound-world of the keyboard repertoire by Elizabethan Masters and their successors.