Bösendorfer 290 Imperial. Her treatment of the repeats are still rather controversial; She opts for changes in phrasing, voicing and dynamics rather than a brilliant ornament. András Schiff’s first recording of the piece for Decca (1983) still sounds unique; Schiff has his own sound and way of playing Bach (and other composers). KenOC. Murray Perahia (Sony, 2000), N°3 41: The Chess Game, based on J.S. Solennel, pesant et comme ânonné, le Bach d’Evgeni Koroliov suscite un rejet unanime. Hewitt is well mannered, well prepared, but fail to make a real impression. Angela Hewitt first recording (1999) is very attractive with its clarity, beauty of tone and wise tempo choices. Intéressant tout de même. Her later, digital recording on Deutsche Gramopphon (1999) sounds the best technically, but Tureck in her mid-eighties lacks the focus and technical command of her younger self. Vladimir Feltsman bouscule, déboussole… irrite, mais vous oblige à écouter. Schiff’s way with Bach is not of sacred robustness; The virtuosity and dancing elements are thoroughly explored while preserving a true sense of the whole. You can never fault Jeremy Denk for his originality and clear-thinking, but what worked so well for the American pianist in other releases does not necessarily sounds fully formed here; The repeats are interesting, but some fluctuation of tempo, highly contrasted dynamics and 19th century-like pianistic style and plain rush on certain variations will not speak to all tastes. Zhu Xiao-Mei (Mirare, 1990), N°2 Canone all Unisuono 5. He is a judged pianist, assured yet humble. Anne-Marie Sylvestre, Producer Purchase: Daniel Barenboim’s live Goldberg Variations (1989, Teldec) is full of wisdom and some nice individual touches, very reminiscent of his early Beethoven Piano Sonatas cycle for EMI. Bach: "Open" Goldberg Variations, BWV 988 (Piano) by Kimiko Ishizaka, released 28 May 2012 1. It’s a shame it didn’t get the attention it deserved at the time of its release, a mistake this guide may be able to fix. Variatio 3 a 1 Clav. Get our periodic classical music newsletter with our recent reviews, news and beginners guides. Then came Murray Perahia, with his Gramophone Award-winning performance for Sony (2000). It covers new album reviews by knowledgeable and independent writers, as well as in-depth guides and news. She is also unapologetically pianistic, incorporating noticeable crescendos and diminuendos, not available on instruments in Bach’s time, though her usage of the sustaining pedal is spare. Her style, however, hasn’t met the test of time well, taking into account the knowledge of Bach performances we have from past decades. It’s most definitely a different voice among the latest versions, and even if not one of the absolute best, it’s highly recommendable. Listening to Beatrice Rana’s quite recent release, the word “refreshing” is the first to come to mind. Ekaterina Dershavina (Arte Nova, 1994), N°6 Regrettably, his handling of the repeats is sometimes intrusive, and the performance loses the momentum in the second half. The recording quality, though tolerable, is not ideal. There is a calm naturalness to his playing, as was so impressive in his release of the complete Partitas in 2014. There’s a certain heaviness in her playing, along with a didactic directness, making us aware of every interpretational decision and ornamentation (The last of which she was a true academic expert). Guère envie de s’attarder en compagnie de ces Goldberg bien sérieuses. Barenboim approach treats each variation as an almost separate entity, including long pauses between the variations. Mais comme Murray Perahia sait faire chanter son Bach, lui insuffler chaleur, souplesse, esprit, caractère ! Version F Ses Variations Goldberg, avec leurs aigus cliquetants et saturés, versent volontiers dans le loufoque : mille idées par mesure à défaut d’une véritable idée maîtresse qui donnerait corps et cohérence à l’ensemble. It will maybe make you rattled, smile or upset, but it’s certainly never dull. But on the piano, a crucial element is missing – the double keyboard instructions. On the other hand, there’s a little “middle of the road” feel here, with many of the repeats (only a few are observed) not exploring anything new. She keeps the tempo tight up except for some dramatic, strategically planned pauses like before the “black pearl” variation. Classical music The enigma of the “Goldberg Variations”. Bach: Goldberg Variations, BWV 988; ... Gould only recorded the work twice, in 1955 and 1981. Gould’s digital 1981 version is also fascinating from start to finish, and like his 1955 mono recording, should be in any record collection. Tharaud is more internal, introspective artist, as if asking you to get closer to the music with him holding your hand, rather than be an outsider spectator. The dances and canons and folk-songs of Bach’s Goldberg Variations mostly express a cheerful companionability. 21 and 25) especially moving. La référence moderne ? Share this guide or tell us in the comments. The only question is whether the listener will be taken by Schiff declaratory phrasing. Get periodic updates about new classical music albums reviews, news and guides.We respect your privacy. 6. She has her own group of admirers and giving her distinguished scholarly and pianistic career it’s viably justified. There is also some emotional intensity when called for, such as in variation 21, and tender flexibility in the “black pearl” variation, No. A new recording by Lang Lang, a star Chinese pianist, is a reminder of the complex beauty of Johann Sebastian Bach’s compositions 4. As with the Harpsichord of this guide to the best recordings of the Goldberg Variations, I decided to recommend 3 versions; two of which I feel present as big a scope of the piece, exploiting the full potential of it and illuminating all of this still difficult to crack masterpiece. N°1 Bach's 'Goldberg Variations': Infinite Worlds Out Of Eight (Borrowed) Notes ; Why I Hate The 'Goldberg Variations' The Biggest Jazz Riff Ever Written:' Jeremy Denk's 'Goldberg Variations' Bach and Friends DVD (Lawrence 2010) Simone Dinnerstein on the Goldberg Aria After four days in the recording studio (in this case, London’s wonderful Henry Wood Hall), Angela had every variation on tape, but wanted to try the opening Aria again. Overall, a well executed and recorded version, but a bit pale next to the extreme competition. Though it won’t win every listener, to me it’s very persuasive. Explore our masterpiece guide to Bach’s ‘Goldberg Variations’ featuring Lang Lang’s studio and live recordings of the monumental work. In general, it’s a well recorded, serious version that has less of a chance to jell into memory. The relatively slower tempi, which sounded so well and refreshing in the Richard Egarr version on the harpsichord, sounds heavy and mannered here. The Goldberg Variations, BWV 988 was first published in 1741.It is considered a landmark composition, and one that demands expertise in performance technique. Are you referring to live performances (excerpts) from youtube, by chance? Andrew Rangell newly re-released version of the Goldberg Variations for the Steinway & Sons label is so idiosyncratic, almost outrageous, that you have to listen to it. There is too much octave doubling, registers changes and non-legato, Gould-like phrasing, though without the Canadian mastermind behind it. The “black pearl” is one of the longest on record, losing most of the momentum built before. Maria Tipo’s take on the variations from the late 80’s (EMI-Warner) is commendable, with some nice voice coloring and intricate pedal work. Nous voici plongés dans le luxe d’un piano sculptural, dont l’opulence dessert peut-être la lisibilité de la polyphonie. Ses Variations Goldberg, avec leurs aigus cliquetants et saturés, versent volontiers dans le loufoque : mille idées par mesure à défaut d’une véritable idée maîtresse qui donnerait corps et cohérence à l’ensemble. First published in 1741 as the fourth in a series Bach called Clavier-Übung, "keyboard practice", the work is considered to be one of the most important examples of variation form. The same applies to the added ornaments in repeats – hear how well suited and appropriate they sound on var. The liner notes in the physical CD and the added explanation videos by Denk (bonus DVD or video files in the Apple Music version) – are delightful.Highly interesting and enjoyable, maybe as a second or third version once you already know the piece. A later 80’s recording on the VAI label probably finds her at her absolute best, relatively free and flowing, but she is let down by an amateurish recording made on a private concert. Listening blindly to Ekaterina Derzhavina’s account (1994), you’d think you are in the company of a truly great Bach performer. On first listening, it’s rather surprising how “modern” this performance sounds. It may show us some musical intents from this well-respected pianist, but it’s hardly a full image of how Serkin might have performed the piece. It can easily be compared to another outlandish account of the repeats – mentioned in the previous part when deceasing Igor Kipnis’ version on the Harpsichord. In addition, technically speaking this is one of the best versions from a recording quality standpoint. The long journey with the variations (she observes all the repeats) is sustained with a wonderful singing tone and little, appropriate ornamentations. Luckily, the latest evolution of the classical music streaming services has brought it back to the catalog. It’s now sold separately by Sony and can be appreciated solely on its own. 9). (Jeremy Denk joins us all week to explore the Goldberg Variations. Variatio 2 a 1 Clav. Vladimir Feltsman (Music Masters, 1991), N°4 This period also saw a recording by Maria Yudina (Melodia, 1968) – a fascinating document and a worth-while listening if you’d like to get to know this unique artist, often referred to as “the Russian Glenn Gould”. For the super-budget price it was once offered, it presented a remarkable value – An assured, well recorded and technically commanding performance, with some nice individual touches. Although he is not ideally recorded, his handling of repeats will never cease to put a smile on your face (It may also allow you to ignore the mediocre recording quality and instrument). 32 tracks (38:30). With all of its oddities, it’s a great version. See below the previous parts (Part I, Part II). Tharaud’s keyboard control is a source of wonder, changing colors and projecting lights and shades like very few pianists. There is really very little to fault with this performance; Levit has the disadvantage of coming into the light well after so many distinguished releases, that it’s hard for him to stand out from the crowd.
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