goldberg variations best recording
15 and 21. When receiving the invitation, Bach thought a series of variations on a theme will have a soothing effect on the sleepless count. Lori Sims presents a “live” version in all sense of the word; There is a lot of spontaneity, extra excitement, obvious audience noise and, let’s admit it, some missteps that would have been corrected in studio conditions. The only question is whether the listener will be taken by Schiff declaratory phrasing. Again, this is one of the most impressive Goldberg Variations in the current catalog, and even if you are looking for a more “jubilance” experience, Tharaud is too talented to ignore. Gavrilov is a truly fascinating pianist, using all of the tools of his disposals to illuminate this masterpiece. You may find that Dennerstein requires several listenings to fully appreciate the tiny intricacies of her sound-world. Love Gould or hate him, without him we wouldn't be discussing this — or any other — list of recordings of what has been called the longest, most ambitious and most important solo keyboard work written before Beethoven. On the same label, we have the immaculate Jenő Jandó, who recorded to the label practically all of the major piano repertoire. Your email address will not be published.
Friday, July 7, 2017. In the early years of the Naxos label, it was snobbishly treated by the established music outlets and part of the classical music enthusiasts. His Goldberg Variations, unfortunately, do not reach the same artistic level. 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. His ornaments in repeats sound just right and never excessive, and he also enjoys Sony’s best engineering services. Bach uses two tunes, both distinctly earthy: ‘Kraut und Ruben haben mich vertrieben’ (Cabbage and beets have driven me away) and ‘Ich bin so lang nicht bei dir gewest’ (I’ve been so long away from you…).
25. Point of fact is that playing the Goldbergs on a single keyboard instrument means that a pianist has to resort to tricks, compromises, fudging or outright studio chicanery to play all the notes as Bach wrote them. It will maybe make you rattled, smile or upset, but it’s certainly never dull. Angela Hewitt first recording (1999) is very attractive with its clarity, beauty of tone and wise tempo choices. Roughly 20 of the original publication of the piece survived to this day, one of which contains corrections by the composer. Awards at Staples Center on January 26, 2020 in Los Angeles, California. The long journey with the variations (she observes all the repeats) is sustained with a wonderful singing tone and little, appropriate ornamentations. This is a partial list of commercial or professional recordings of Johann Sebastian Bach's … In short, Glenn Gould gave Bach soul — and Bach gave Gould great source material. Share this guide or tell us in the comments. This matters, because to organise pace, energy and logic over such a lengthy span, Bach creates in the Goldbergs several structural devices that reflect his fascination with mathematical principles, or even numerology. Her handling of repeats has more to do with bringing out hidden voices than adding more notes, and she is at her best on the slower, mellow variation (Var. Schiff has a lifelong experience with the Goldberg Variations yet it’s marvelous how live and spontaneous it still sounds. The entire performance seems rushed, not giving the music time to breath or make an impression by itself (Gould’s decision not to play a single repeat adds to this). There is too much octave doubling, registers changes and non-legato, Gould-like phrasing, though without the Canadian mastermind behind it. 3 in D minor (after Alessandro Marcello), BWV 974 (BC L194), Die Kunst der Fuge (The Art of the Fugue), for keyboard (or other instruments), BWV 1080, Contrapunctus 7 (a 4, per Augmentationem et Diminutionem). Maybe this: there is a sense of exploration, traveling through all the intricacies of the human experience. This includes debatable tempo and dynamic choices. Legend has it that Bach received a commission to compose a set of variations aimed to ward off Count Hermann Carl von Keyserlingk’s insomnia. Gould’s digital 1981 version is also fascinating from start to finish, and like his 1955 mono recording, should be in any record collection. 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. 1 in C major (WTC I/1), BWV 846 (BC L80), Prelude and Fugue, for keyboard No.
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