Author Topic: Bach Goldberg Variations  (Read 38580 times)

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Offline Archaic Torso of Apollo

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Re: Bach Goldberg Variations
« Reply #260 on: March 13, 2018, 07:09:55 AM »

Third recording (DHM). Not dissimilar to the second in conception but a bit more independent and expressive voicing and on a more beautiful  harpsichord, better recorded and I think more inspired playing, with more interesting articulation and "textures" This is the best one.

I've been doing some back-&-forth comparative YouTube-ing of Leonhardt III vs. Pinnock. I chose Pinnock as a comparison because his seems to be a well-regarded standard version. While Pinnock is good and solid, I have to say I find Leonhardt III a lot more interesting - there just seems to be "more going on" in the individual variations.

I've seen this Leonhardt described as eccentric by some, or even "perverse." I guess that's what I like about it!
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Offline Mandryka

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Re: Bach Goldberg Variations
« Reply #261 on: March 13, 2018, 08:24:26 AM »

I've seen this Leonhardt described as eccentric by some, or even "perverse." I guess that's what I like about it!

I'd be interested to know what the perverse elements are - perverse means persistent in error. Maybe his attitude to repeats was perverse.

Eccentric is also a bit puzzling, If you look at the recordings prior to it, there just is no stylistic centre to deviate from. We had recordings by Landowska, Gould, Verlet, Martins, Kempff, Tureck, Landowska  . . .  this was a time of great freedom and experimentation, more so than today. I think if anything Leonhardt's final recording was instrumental in creating a mainstream of opinion about how to read the score.

I think that Leonhardt plays this music better than Pinnock.
« Last Edit: March 13, 2018, 08:26:39 AM by Mandryka »
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Offline Archaic Torso of Apollo

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Re: Bach Goldberg Variations
« Reply #262 on: March 13, 2018, 08:29:47 AM »
I think that Leonhardt plays this music better than Pinnock.

I (might) agree. Pinnock seems a bit blunt, Leonhardt more free and subtle in phrasing. I also prefer the sound of Leonhardt's harpsichord, tho' it's difficult to judge off YouTube.

As for "perverse," that's just one guy's opinion, out there on the Internet. I wouldn't read too much into it.
formerly VELIMIR (before that, Spitvalve)

"Who knows not strict counterpoint, lives and dies an ignoramus" - CPE Bach

Offline milk

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Re: Bach Goldberg Variations
« Reply #263 on: June 09, 2018, 03:36:30 PM »
How do people feel about Steven Devine and Pieter Dirksen here?

Offline (: premont :)

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Re: Bach Goldberg Variations
« Reply #264 on: June 10, 2018, 03:25:16 AM »
I'd be interested to know what the perverse elements are - perverse means persistent in error. Maybe his attitude to repeats was perverse.


Many keyboard players leave out some of the repeats in the GV to make the work fit into one CD. Leonhardt is at least consequent - ooh wait -  as far as I recall, he does one of the repeats in one of the short variations, maybe thinking it would be too short otherwise.

I am convinced, that Leonhardt left out the repeats in the GV and in the EMI English suites and partitas, because he felt a pressure to do variations in the repeats and didn't want to do variations, which might risk to achieve authoritary status, given his central role in the HIP movement.


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Offline Mr. Minnow

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Re: Bach Goldberg Variations
« Reply #265 on: June 17, 2018, 04:07:57 PM »
Any thoughts on this?



There's a very negative review here:

http://culturecatch.com/music/june-2012-classical-review-roundup

On the other hand, a couple of customer reviews on Amazon France are much more positive. I haven't found much else about this one; it seems to have largely flown under the radar.


Offline Mandryka

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Re: Bach Goldberg Variations
« Reply #266 on: June 20, 2018, 01:00:30 PM »
Diego Ares is a student of Richard Egarr. He seems to be a bit of a Solar specialist, . Here he plays Bach on a harpsichord by Joel Katzman (2002)  “after” Pascal Taskin, 1769.




Imaginative repeats, lyrical, a well balanced instrument with a good bass, and great sound.

At the level of affects, he does cheerful and he does tender and he does severe. He likes telling stories, in a way which makes me think of Hans Davidsson’s Buxtehude, or better, Richard Egarr on the English Suites:

Quote
The Variations can suggest diverse situations and scenes to us: from the fluttering of butterflies (Variation 14) to the crossing of the river Lethe (Var.15); from the most fervent choir (Var.4) to a peal of bells (Var.28); from Arion’s disconsolate song (Var.25) to his flight on the back of a dolphin (Var.26). And what to say of Variation 23? Its opening is reminiscent of Rameau’s La Joyeuse, its ingeniously achieved thirds suggest a resonant viola da gamba, and its insinuating repeated notes . . . Well, to be honest, they remind us of the Road runner mocking while E. Coyote!

Most of all for me, I get the impression of real virtuosity in the service of entertainment: the colours of the harpsichord, the clarity of the music, the infectious rhythms and tunes. And a general feelgood factor - there ain’t much darkness in these Goldbergs

Quote
I have dared to present the Variations to you without any other pretension than to entertain you with this inexhaustible ‘source of originality’.

He’s succeeded IMO, this sounds fresh and original. I think it’s is a valuable contribution for both the conception and the execution.
« Last Edit: June 20, 2018, 01:07:25 PM by Mandryka »
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Offline (: premont :)

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Re: Bach Goldberg Variations
« Reply #267 on: June 20, 2018, 01:15:50 PM »
Remember that Naxos will release Rübsam's Goldbergs in August.
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Offline Gordo

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Re: Bach Goldberg Variations
« Reply #268 on: June 20, 2018, 02:16:20 PM »
Diego Ares is a student of Richard Egarr. He seems to be a bit of a Solar specialist, . Here he plays Bach on a harpsichord by Joel Katzman (2002)  “after” Pascal Taskin, 1769.




Imaginative repeats, lyrical, a well balanced instrument with a good bass, and great sound.

At the level of affects, he does cheerful and he does tender and he does severe. He likes telling stories, in a way which makes me think of Hans Davidsson’s Buxtehude, or better, Richard Egarr on the English Suites:

Most of all for me, I get the impression of real virtuosity in the service of entertainment: the colours of the harpsichord, the clarity of the music, the infectious rhythms and tunes. And a general feelgood factor - there ain’t much darkness in these Goldbergs

He’s succeeded IMO, this sounds fresh and original. I think it’s is a valuable contribution for both the conception and the execution.

I thought very much the same. He’s young, but this version seems to reveal a great familiarity with the music. Perfect articulation, imaginative repetitions. Stupendous instrument, built by a friend of him. Intelligent and charming brief notes; written as following the Gracián's advice: "Good things, when short, are twice as good." I loved the Adagio in G Major BWN 968, used a sort of prelude.

BTW, his Soler (Sol de mi fortuna) is that good as his Goldbergs; with a handful of recently discovered (in 2011 or 2012, I think) sonatas from the Morgan Library.  :) 
Musica lætitiæ comes medicina dolorum
(Music is a companion to joy and a medicine for pains)

Offline San Antone

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Re: Bach Goldberg Variations
« Reply #269 on: June 20, 2018, 02:17:47 PM »
Remember that Naxos will release Rübsam's Goldbergs in August.

Are they going to be played on the lute harpsichord, like the WTC?

Offline Mandryka

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Re: Bach Goldberg Variations
« Reply #270 on: June 20, 2018, 09:06:30 PM »
Are they going to be played on the lute harpsichord, like the WTC?

Yes.
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