Bach Goldberg Variations

[milk]

Yes it's quite special stuff, I agree.

I just saw there's some Beethoven on YouTube - an Appassionata of all things - can't imagine what she makes of that one!

It says Julia Cload but artist, Daniel Barenboim so I don't know what to make of it.

[Mandryka]

It says Julia Cload but artist, Daniel Barenboim so I don't know what to make of it.

Well I don't think it's this, just on the basis of the length of the first movement.

https://www.youtube.com/watch?v=mbdExPQpCoc&ab_channel=DanielBarenboim-Topic

But I'm not really interested in the music today, I am interested in DBT though, and she is here playing it

https://www.youtube.com/watch?v=kyK-Ycoj3xg&list=PLqMsu_N7j4npVUXW4TbY69IhAwJzi5gw_&index=3&ab_channel=Sonographologie

[Mandryka]

Pay attention everyone.

Interesting Goldbergs alert



https://static.qobuz.com/goodies/01/000114110.pdf

This guy's got a feel for how to make counterpoint sound interesting. Independent voices, coherent music.

[AnotherSpin]

Pay attention everyone.

Interesting Goldbergs alert



https://static.qobuz.com/goodies/01/000114110.pdf

This guy's got a feel for how to make counterpoint sound interesting. Independent voices, coherent music.

Very interesting reading. Thank you!

[Mandryka]

I forgot I'd already discovered him!

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.


[asin]B07CF6WRSH[/asin]

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 think my attention got rather overwhelmed by Rubsam's Goldbergs, which were released shortly after Ares's. I think Rübsam may not be too disapproving of Ares in fact, though no doubt he would find it still too "chordal."

Just a brief anecdotal note. Last night I listened to the recording on little bookshelf speakers - Rogers JR149 Mk2. And this morning I'm hearing it on  the big system - Quad ESLs with a pair of dipole subwoofers. It sounds totally different! Totally!  I think I might prefer the Rogers presentation here actually. The big system is more truthful probably, but the better bass response  gives it a weightiness which I'm not sure is so good.

[Rinaldo]

I'm sure they'll put anything he's written online eventually.

Very late to the Rübsam party, but I just came across the man himself commenting under a YouTube upload of his Naxos effort and it ties nicely with what Mandryka's been voicing throughout this wonderful thread.

Here in this new Naxos Recording it is all about musical communication in a cantabile manner as desired by Bach in the preface of the Inventions. Much of this desire was stimulated via the baroque Italian Art of Song which incorporated the so called Portamento and Vacillare technique.

The latter contributes to the reason why this recording sounds like none other to date.

This art of polyphonic communication is accomplished by a horizontal, independent interaction of voices that creates the "unpredictability of the next measures", even when listening to this recording many times.

The interplay is simply too complex to memorize. Not even I know what will be communicated exactly next after some time "away" from the recording. Should some listeners not appreciate this art-form, it is likely because of what I call the "Glen Gould Virus" that globally has preprogrammed the inner ear of Bach keyboard audiences; pre-programmed it to know what the next measure is to sound like, including the metronomic "beating of the music".

When this does not happen, the listener becomes likely upset. This is then under the headline of ONLY "hearing music", namely just the printed score black on white.The horizontal approach in my recordings by contrast requires a "listening to music", best achieved by observing the larger pulse of the scores, not individual beats.

(...)

Enjoy this new/old way of performance practice and at least " try to fight " the Gould Virus. Then you will be able to follow each voice of the polyphony in ways never experienced before. I recommend to listen over good headphones to experience the wide stereo from bass to treble.

Not too keen on his Virus Crusade, but even as a mild gouldian, I do find Rübsam's approach enjoyable and worth a revisit.