Bach Goldberg Variations on piano

[hornteacher]

I must admit I have not listened to Bach's Goldberg Variations as much as I should, but I am taken by Simone Dinnerstein's sudden success story.  I would like to hear from people who are familiar with the Goldberg Variations give their opinion on Simone's CD.  Is it really that good?  Is it over-hyped?  Is it simply the product of a nice person who took a chance?

[BorisG]

I must admit I have not listened to Bach's Goldberg Variations as much as I should, but I am taken by Simone Dinnerstein's sudden success story.  I would like to hear from people who are familiar with the Goldberg Variations give their opinion on Simone's CD.  Is it really that good?  Is it over-hyped?  Is it simply the product of a nice person who took a chance?

It sounds more like crossover than Bach. She would make a better lounge lizard, and I mean that in a nice way.

[hornteacher]

It sounds more like crossover than Bach. She would make a better lounge lizard, and I mean that in a nice way.

Interesting.  She trained at Juilliard and has been concertizing for years.  What specifically makes her a crossover artist in your opinion?

I'm not disagreeing, just curious.

[BorisG]

Interesting.  She trained at Juilliard and has been concertizing for years.  What specifically makes her a crossover artist in your opinion?

I'm not disagreeing, just curious.

Specifics you want. She bought her own date at Carnegie, and self-produced this GVs before Telarc picked it up. She has a Delos Vol. 1 of Beethoven Cello Sonatas, which I have not heard. I do not know who paid for that.

The GVs is slow with few repeats. It does not sound like Bach to me, so I will suggest you buy it, listen, decide for yourself, and report back to those who care. I do not. Enough Dinnerstein for me.

[Dancing Divertimentian]

Specifics you want. She bought her own date at Carnegie, and self-produced this GVs before Telarc picked it up. She has a Delos Vol. 1 of Beethoven Cello Sonatas, which I have not heard. I do not know who paid for that.

This isn't the first I've heard of a classical artist (pianist) self-producing a recording. It's simply an act on the part of the artist to promote themselves in an overwhelmingly saturated market. It's a logical step to take these days. Shows entrepreneurial spirit. The artist I'm referring to (forget the name) actually raised the money necessary to cover the cost. 

But I don't see any of this as crossover. Just a way to get their name out there.

Neither do I begrudge a classical artist buying a Carnegie date. If patrons are willing to foot the bill, it makes sense.

[Renfield]

Thank you, hornteacher: I was also wondering about that recording, given all the hype, and you beat me to making a thread about it. So I'll be watching this one with interest.

As it appears, though, I'm likely to buy it anyway, and see for myself. Perhaps I could give feedback once I do so, but I'm no expert on the Goldbergs...

[Don]

I've had the Dinnerstein disc for a few weeks and like it very much.  It's probably the most interesting Goldbergs I have heard in some years.  Doesn't sound like crossover to me in the least.

She starts out in the first third or so of the work creating mesmerizing/haunting dream-like environments with her very slow tempos.  But then she goes on a streak of virtuosity, clearly revealing that she can navigate the piano with the best of them.  Dinnerstein observes most of the repeats, and I believe I read that her ideal would be to play all of them; however, some insistence on keeping this a single disc got in the way.

Sonics are wonderful.  One more thing.  The use of hesitations and staggering of musical lines isn't often found on piano interpretations of Bach's music.  But Dinnerstein uses them extensively - I love that and appreciate her adventurous nature.

In conclusion, unless you're strongly allergic to Bach on the piano, the Dinnerstein is a must have.  Opinions have varied greatly about her interpretations, and that's always a good sign of an artist who has something to say (although some folks don't like the messages).  She's one of a kind in this work.

[Que]

If this was/is a hype, I missed it!

In fact, I never heard of it before. Is it a hype in the USA?

Q

[sidoze]

I've had the Dinnerstein disc for a few weeks and like it very much.  It's probably the most interesting Goldbergs I have heard in some years.  Doesn't sound like crossover to me in the least.

She starts out in the first third or so of the work creating mesmerizing/haunting dream-like environments with her very slow tempos.  But then she goes on a streak of virtuosity, clearly revealing that she can navigate the piano with the best of them.  Dinnerstein observes most of the repeats, and I believe I read that her ideal would be to play all of them; however, some insistence on keeping this a single disc got in the way.

Sonics are wonderful.  One more thing.  The use of hesitations and staggering of musical lines isn't often found on piano interpretations of Bach's music.  But Dinnerstein uses them extensively - I love that and appreciate her adventurous nature.

In conclusion, unless you're strongly allergic to Bach on the piano, the Dinnerstein is a must have.  Opinions have varied greatly about her interpretations, and that's always a good sign of an artist who has something to say (although some folks don't like the messages).  She's one of a kind in this work.

wow sounds great! Thanks Don.

[Renfield]

If this was/is a hype, I missed it!

In fact, I never heard of it before. Is it a hype in the USA?

Q

I got tipped off by Gramophone's report on it (the hype), myself. They didn't especially like the disc, though: found it too serious.

[hornteacher]

If this was/is a hype, I missed it!

In fact, I never heard of it before. Is it a hype in the USA?

Q

The "hype" is found mainly in America, largely because Oprah (cringe  ) has been plugging her like crazy.  In spite of this though, Simone seems to have real musical merit, a nice personality, and a great underdog back story.  Gramophone seems to have mixed opinions while BBC Music loves her.  I'm sure I will at the very least be purchasing her CD and will keep an eye out for her in the future.

[Don]

The "hype" is found mainly in America, largely because Oprah (cringe  ) has been plugging her like crazy.  In spite of this though, Simone seems to have real musical merit, a nice personality, and a great underdog back story.  Gramophone seems to have mixed opinions while BBC Music loves her.  I'm sure I will at the very least be purchasing her CD and will keep an eye out for her in the future.

I guess I haven't heard most of the hype, just the performance.

[Que]

I guess I haven't heard most of the hype, just the performance.

The "hype" is found mainly in America, largely because Oprah (cringe  ) has been plugging her like crazy. 

I have not heard it, but Oprah can plug away as fas as I'm concerned!
If that makes people listen to classical music or Bach in particular - excellent.

Maybe she could start an Oprah's Classical CD Club? 

Q

[Don]

Maybe she could start an Oprah's Classical CD Club? 

Q

With her run of bad luck lately, she'd probably recommend a Hatto disc.

[prémont]

Sonics are wonderful.  One more thing.  The use of hesitations and staggering of musical lines isn't often found on piano interpretations of Bach's music.  But Dinnerstein uses them extensively - I love that and appreciate her adventurous nature.

Sounds as if her style is related to the style of Wolfgang Rübsam.

[Mark]

I got tipped off by Gramophone's report on it (the hype), myself. They didn't especially like the disc, though: found it too serious.

And yet, they carried a feature on the musical tastes of American author and journalist, William F Buckley, who cited this CD as music he couldn't live without. He described hearing the disc as ' ... the single most striking musical experience ... ' of his life. I'm no fan of Buckley (well, I've no idea who he is, TBH ), but when someone gets passionate enough to use that strength of hyperbole, my ears prick up. Whether or not I'll spring for this CD is another matter: I tend to prefer the Goldberg Variations on the harpsichord.

[Renfield]

And yet, they carried a feature on the musical tastes of American author and journalist, William F Buckley, who cited this CD as music he couldn't live without. He described hearing the disc as ' ... the single most striking musical experience ... ' of his life. I'm no fan of Buckley (well, I've no idea who he is, TBH ), but when someone gets passionate enough to use that strength of hyperbole, my ears prick up. Whether or not I'll spring for this CD is another matter: I tend to prefer the Goldberg Variations on the harpsichord.

Yes, that made an impression on me too, more or less along the same lines as yours.

(Though I'd rather have my Goldbergs on the piano, medium-rare. )

[rubio]

I have several Goldberg's (like Gould, Tureck DG+), but I have not really fallen for it on the piano (for Harpsichord I really enjoy Walcha). So which are your favourite recordings and why? More specifically I wonder what do you think about Yudina's Goldberg?

http://www.amazon.com/Maria-Yudina/dp/B00000I0LM/ref=sr_1_1?ie=UTF8&s=music&qid=1232564492&sr=1-1

[George]

I have several Goldberg's (like Gould, Tureck DG+), but I have not really fallen for it on the piano (for Harpsichord I really enjoy Walcha). So which are your favourite recordings and why? More specifically I wonder what do you think about Yudina's Goldberg?

I have it at home, but i have only heard it once. I will try to listen to it in the next couple of days and get back to you. 

[Bulldog]

I have several Goldberg's (like Gould, Tureck DG+), but I have not really fallen for it on the piano (for Harpsichord I really enjoy Walcha). So which are your favourite recordings and why? More specifically I wonder what do you think about Yudina's Goldberg?

http://www.amazon.com/Maria-Yudina/dp/B00000I0LM/ref=sr_1_1?ie=UTF8&s=music&qid=1232564492&sr=1-1

Yudina's recording is not high on my list.  The sound is pretty bad, and only a wonderful interpretation could overcome it.  Yudina's slow variations can be very poignant and even urgent, but the faster pieces sometimes come across as ragged and low on virtuosity.  She also is willful at times.  However, there are some GMG members who love her performance.  Also, joining the Goldbergs at the hip with the Diabelli Variations is very tempting.