Bach on the piano

[AnotherSpin]

Who is the pianist? I can't read the fine print ...

Víkingur Ólafsson. I'm listening to it right now, I like it.

[Mandryka]

Víkingur Ólafsson. I'm listening to it right now, I like it.

In the booklet he says "In the Goldberg Variations, the one thing that rivals Bach's complete intellectual mastery of his craft is his inspired, creative playfulness."  And he does seem to put the emphasis on playfulness. 

[Papy Oli]

In the Guardian today:

https://www.theguardian.com/music/2023/oct/06/vikingur-olafsson-pianist-on-bach-goldberg-variations

[AnotherSpin]

In the booklet he says "In the Goldberg Variations, the one thing that rivals Bach's complete intellectual mastery of his craft is his inspired, creative playfulness."  And he does seem to put the emphasis on playfulness.

Good thing I read this after listening to Olafsson's Goldbergs. Otherwise I would have tried to hear playfullnes or intellectual mastery.

[Mandryka]

TBH I think the playfulness is pretty blatant in the performance. From memory (I may be wrong) Denk tried it like this too. 

[milk]

If I had the gumption, which I do not, I'd like to compare him to Lang Lang. It seems like to the critics, Olafsson can do no wrong whereas Lang Lang didn't get such universal praise. I've no skin in the game since I haven't listened too hard to either and didn't like them enough after one try to really dissect them. I was just looking at reviews of Olafsson and can't find even a slightly negative suggestion. Why do they love him so much? I'm not saying they should trash him, just that the proportions are out of wack.

[AnotherSpin]

If I had the gumption, which I do not, I'd like to compare him to Lang Lang. It seems like to the critics, Olafsson can do no wrong whereas Lang Lang didn't get such universal praise. I've no skin in the game since I haven't listened too hard to either and didn't like them enough after one try to really dissect them. I was just looking at reviews of Olafsson and can't find even a slightly negative suggestion. Why do they love him so much? I'm not saying they should trash him, just that the proportions are out of wack.

I had the thought about Lang Lang as well.

[milk]

I had the thought about Lang Lang as well.

Lang Lang's reviews were solidly Luke warm, if I remember correctly. No one seems to have reservations about Olafsson. This may or may not be deserved. And it's fine if people just love what Olafsson does but I can't believe there isn't room for reserve, especially when he has such a specific way of styling Bach.

[Mandryka]

Lang Lang's reviews were solidly Luke warm, if I remember correctly. No one seems to have reservations about Olafsson. This may or may not be deserved. And it's fine if people just love what Olafsson does but I can't believe there isn't room for reserve, especially when he has such a specific way of styling Bach.

My reservation is precisely that. That it is a one sided performance. But he wouldn't be the only one.

In answer to your question about why they love him so much, the answer will surely be in DG's Public Relations company. They've identified this recording as their Christmas classical cash cow, and it may have even been performed by Vikingur with that in mind - a new fun and accessible Christmas baroque commodity. DG  have thrown a ton of money at it to make sure that the journalists say what they want them to say - and indeed to make sure consumers discuss it too. Look at us!

You can see evidence of the PR company's work in Olaffson's rebranding. He's now just Vikingur. I'm surprised they didn't show him playing piano wearing a  Viking helmet with horns (they're probably afraid of the link to Proud Boys - Jacob Chansley)

[Florestan]

It may be that Lang Lang doesn't eschew pleasing his audiences and consequently is popular. For most critics, whatever or whoever is popular and pleasing is automatically suspect. 

[Florestan]

it may have even been performed by Vikingur with that in mind - a fun and accessible Christmas baroque commodity.

If he manages to make the Goldberg Variations fun and accessible instead of the mystical, devotional, spiritual sacred cow they usually are presented as, then more power to him.

You can see evidence of the PR company's work in Olaffson's rebranding. He's now just Vikingur.

I noticed that. He follows in the steps of Yundi (Li). 

[DavidW]

I haven't heard the new recording, but the previous efforts Olaffson has made with Bach sound romanticized and highly stylized.  For me personally, it is not too much and I like it.  But these are not performances for purists looking for insightful, nuanced and faithful takes on Bach.  Olaffson is for the listener that prefers Schumann over anything baroque if you know what I mean.

Like Milk, I'm surprised that the reception has been COMPLETELY positive.  That doesn't feel honest.  Even Leonhardt (my favorite for any solo keyboard Bach) would receive some critical remarks.  That is one thing I don't like is that too often music criticism is the nasty, hostile and dismissive Hurwitz type or overly praising everything as the greatest and nothing in between.  Classical music criticism is pretty shabby these days.

[Mandryka]

Here's a review of it with reservations

https://interlude.hk/review-vikingur-olafssons-goldberg-variations/#:~:text=Rather%20than%20venerating%20the%20Goldberg,sometimes%20missing%20in%20this%20recording.

And another

https://theclassicreview.com/album-reviews/review-bach-goldberg-variations-vikingur-olafsson-piano/

[Florestan]

these are not performances for purists looking for insightful, nuanced and faithful takes on Bach.  Olaffson is for the listener that prefers Schumann over anything baroque if you know what I mean.

I know exactly what you mean, my favorite rendition of Bach's keyboard partitas is Maria Tipo's, and she plays them as if they were Schumann. 

Looks like Vikingur's Goldberg Variations might be right up my alley.

[JBS]

I know exactly what you mean, my favorite rendition of Bach's keyboard partitas is Maria Tipo's, and she plays them as if they were Schumann. 

Looks like Vikingur's Goldberg Variations might be right up my alley.

Have you ever heard Ashkenazy's Partitas? I like to say he plays them like Chopin. (But his other Bach recordings are more mainstream and a bit boring).

Vikingur's recording is currently in transit to me from Presto.

[Florestan]

Have you ever heard Ashkenazy's Partitas? I like to say he plays them like Chopin.

No I haven't, but your description certainly makes me want to hear them. Thanks for the tip.

[Anooj]

Regarding the Richter WTC, what exactly is the difference (if any) between these two sets? I think they must be the same recording (or did he do WTC multiple times?), but do they have some difference in sound or mastering I should know about?

[milk]

I haven't heard the new recording, but the previous efforts Olaffson has made with Bach sound romanticized and highly stylized.  For me personally, it is not too much and I like it.  But these are not performances for purists looking for insightful, nuanced and faithful takes on Bach.  Olaffson is for the listener that prefers Schumann over anything baroque if you know what I mean.

Like Milk, I'm surprised that the reception has been COMPLETELY positive.  That doesn't feel honest.  Even Leonhardt (my favorite for any solo keyboard Bach) would receive some critical remarks.  That is one thing I don't like is that too often music criticism is the nasty, hostile and dismissive Hurwitz type or overly praising everything as the greatest and nothing in between.  Classical music criticism is pretty shabby these days.

I'm not sure I'd agree that this is just romanticized but he does succeed at making it his own. It's not easy to stand out. What's the famous quote? He plays Bach his way (not necessarily Bach's way, whatever that is). We would have to go back and define romanticism in piano.

I know exactly what you mean, my favorite rendition of Bach's keyboard partitas is Maria Tipo's, and she plays them as if they were Schumann. 

Looks like Vikingur's Goldberg Variations might be right up my alley.

So, I'm not sure there IS any connection here to Tipo. There are so many Goldberg-s out there and I might not be being fair as I haven't listened so much. I did compare him to Lang Lang a little. It's interestingly different. Olafsson is way fast and smooth by comparison.

[milk]

Here's a review of it with reservations

https://theclassicreview.com/album-reviews/review-bach-goldberg-variations-vikingur-olafsson-piano/

"The artistry he's shown in other recordings is wanting in a performance that feels too rushed and, in some ways, uniform."

Have you ever heard Ashkenazy's Partitas? I like to say he plays them like Chopin. (But his other Bach recordings are more mainstream and a bit boring).

Vikingur's recording is currently in transit to me from Presto.

Olafsson vs. Tipo vs. Lang Lang
From what I think of as romantic, I see Lang Lang and Tipo more in that vein. However, when it comes to piano versions of baroque, I get a bit lost as to what exactly this means. I'm pretty certain that it doesn't mean super fast smooth playing although a lot of pianists from older generations seemed to play things at lightening speed.
I think Olafsson goes well with elevators and Dentists. This sounds very harsh but I don't mean to be too provocative. I mean it really does because nothing jumps out too much or causes one to feel deeply in any direction. It's smooth sailing and this is so even when it comes to his presentation of counterpoint melodies. Everything exists in between these four corners of his tempo. Olafsson delivers very cute little boxes of variations but they're more like the cheap souvenirs that are produced in the thousands than something rare and unique. I don't mean his playing is like other pianists, it isn't. I mean that the effect of his playing isn't really perspicacious. It doesn't add up to anything. He doesn't separate the lines that Bach has given or arranged in an insightful context what Bach has provided.
I'd say there's a little more charm in Tipo and the "romanticism" may be there in her dynamics but it's still kind of subtle. It's also in her rubato which I find thoughtful and pleasing. Vikingur is, again, fast and rather robotic. I don't hear any romanticism. Maybe I was wrong to say he's plagued by the mistakes that other pianists make when it comes to relying on piano "tricks." I just think he's lifeless.
I really didn't give Lang Lang any time at all when his came out but he's worth a listen. He's thoughtful, at least here and there. I'm not saying he's going to be a favorite of mine or anything but he finds areas within the variations to emphasize a melodic line, a fresh approach, etc. Yes, he bangs a little but he's also human and humane most of the way through. Olafsson is a cold fish.
Thinking about Olafsson pushed me to really listen to Lang Lang, which I wouldn't have done otherwise. This was a boon. I recommend Lang Lang. Lang Lang prepared for this recording. That's clear. Olafsson seems to go his own way and that's clear since his approach doesn't change whether he's playing Debussy or Rameau or Bach. Lang Lang reaches out to the listener to deliver a thoughtful performance and it was worth my time to listen.

[AnotherSpin]

I haven't heard the new recording, but the previous efforts Olaffson has made with Bach sound romanticized and highly stylized.  For me personally, it is not too much and I like it.  But these are not performances for purists looking for insightful, nuanced and faithful takes on Bach.  Olaffson is for the listener that prefers Schumann over anything baroque if you know what I mean.

Like Milk, I'm surprised that the reception has been COMPLETELY positive.  That doesn't feel honest.  Even Leonhardt (my favorite for any solo keyboard Bach) would receive some critical remarks.  That is one thing I don't like is that too often music criticism is the nasty, hostile and dismissive Hurwitz type or overly praising everything as the greatest and nothing in between.  Classical music criticism is pretty shabby these days.

Olafsson's mostly positive reception is due to the fact that his recording is very contemporary. The brave new world welcomes and endorses its performers.