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?
Quote from: hornteacher on November 09, 2007, 03:10:26 PM
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. :-*
Quote from: BorisG on November 09, 2007, 03:15:25 PM
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.
Quote from: hornteacher on November 09, 2007, 03:27:02 PM
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.
Quote from: BorisG on November 09, 2007, 04:12:19 PM
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.
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...
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.
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
Quote from: Don on November 09, 2007, 07:06:07 PM
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.
Quote from: Que on November 10, 2007, 12:21:10 AM
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. :)
Quote from: Que on November 10, 2007, 12:21:10 AM
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.
Quote from: hornteacher on November 10, 2007, 06:33:55 AM
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.
Quote from: Don on November 10, 2007, 11:05:18 AM
I guess I haven't heard most of the hype, just the performance.
8)
Quote from: hornteacher on November 10, 2007, 06:33:55 AM
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? ;D
Q
Quote from: Que on November 10, 2007, 11:18:00 AM
Maybe she could start an Oprah's Classical CD Club? ;D
Q
With her run of bad luck lately, she'd probably recommend a Hatto disc.
Quote from: Don on November 09, 2007, 07:06:07 PM
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.
Quote from: Renfield on November 10, 2007, 02:08:33 AM
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 ;D), 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.
Quote from: Mark on November 10, 2007, 02:04:13 PM
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 ;D), 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. ;D
(Though I'd rather have my Goldbergs on the piano, medium-rare. :P)
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
(http://ecx.images-amazon.com/images/I/41MAE9BTFCL._SL500_AA240_.jpg)
Quote from: rubio on January 21, 2009, 10:20:26 AM
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. :)
Quote from: rubio on January 21, 2009, 10:20:26 AM
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
(http://ecx.images-amazon.com/images/I/41MAE9BTFCL._SL500_AA240_.jpg)
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.
NO NO NO! These works were meant for the harpsichord $:)! I just can't have it any other way, I'm sorry......I'm just sorry (please forgive).
marvin
Quote from: George on January 21, 2009, 10:47:16 AM
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. :)
Thank you very much, George! I've read her Goldbergs should be quite different from others, and some seem to love it.
Quote from: rubio on January 21, 2009, 11:57:52 AM
Thank you very much, George! I've read her Goldbergs should be quite different from others, and some seem to love it.
FWIW, I do recall that I wasn't wowed in the way that I was wowed by her Op. 111 and a few other LvB sonatas.
Quote from: George on January 21, 2009, 11:59:58 AM
FWIW, I do recall that I wasn't wowed in the way that I was wowed by her Op. 111 and a few other LvB sonatas.
I haven't been wowed by any Goldberg on piano so far :).
Quote from: rubio on January 21, 2009, 12:29:46 PM
I haven't been wowed by any Goldberg on piano so far :).
I have a feeling you will be wowed by Schiff on ECM.
See what you think of this approach...
http://shop.niederfellabrunn.at/J2ES2EBach3A_Goldberg_Variations_BWV_988.html
Quote from: Sorin Eushayson on January 21, 2009, 02:40:05 PM
See what you think of this approach...
http://shop.niederfellabrunn.at/J2ES2EBach3A_Goldberg_Variations_BWV_988.html
I have Riemer's Goldbergs, and it's outstanding (also unique in using a fortepiano). His recording of the Art of Fugue, also on fortepiano, is another great one.
Quote from: Bulldog on January 21, 2009, 10:50:45 AM
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.
Yes, not to mention the Eroica Variations as well. I agree that the sound is pretty poor, considering this was recorded in 1968. It sounds more like 1948. Her tone is nothing to write home about and this, coupled with the dry sound, does not add up to a nice picture. Still, there is a bit to enjoy here. As you said, the slower parts work much better. After hearing the opening aria, I almost logged on and told rubio to buy this, but as it went on, there were a number of ugly moments. She bangs too much for me on this one. I sure wanted to like it and although I don't hate it, I don't like it that much either.
Quote from: George on January 21, 2009, 03:39:42 PM
Yes, not to mention the Eroica Variations as well. I agree that the sound is pretty poor, considering this was recorded in 1968. It sounds more like 1948. Her tone is nothing to write home about and this, coupled with the dry sound, does not add up to a nice picture. Still, there is a bit to enjoy here. As you said, the slower parts work much better. After hearing the opening aria, I almost logged on and told rubio to buy this, but as it went on, there were a number of ugly moments. She bangs too much for me on this one. I sure wanted to like it and although I don't hate it, I don't like it that much either.
Thank you very much for the comments, George! I'll bear that in mind.
Schiff on ECM is pretty good, but I like Hewitt even better. There's just something about her cool, intellectual, but still vibrant approach that I find immensely appealing.
Quote from: rubio on January 21, 2009, 09:02:56 PM
Thank you very much for the comments, George! I'll bear that in mind.
My pleasure. :)
Weissenberg :-[
His 27th (I think ???) variation is 8 minutes of bliss. Alexis in one of his extremely rare tender moments >:D
Quote from: orbital on January 22, 2009, 05:45:48 AM
Weissenberg :-[
His 27th (I think ???) variation is 8 minutes of bliss. Alexis in one of his extremely rare tender moments >:D
You might be referring to the 25th Variation.
Quote from: Bulldog on January 22, 2009, 05:54:32 AM
You might be referring to the 25th Variation.
Yes, probably that is it. Thanks.
Weissenberg continues to be my favorite Bach interpreter -believe it or not- in the pieces that he recorded. He has all of Gould's technical abilities without the antics. I wish he had recorded a WTC set :-\
These might be of interest:
Goldberg Variations, Generally Speaking: Overview (http://ionarts.blogspot.com/2006/04/goldberg-variations.html)
Goldberg Variations Variations: Transcriptions (not including Piano) (http://www.weta.org/fmblog/?p=167)
Dinnerstein, Take Two: Review for ionarts (http://ionarts.blogspot.com/2007/10/simone-dinnersteins-goldberg-variations.html)
("Bach with a hint of Zamfir")
Dinnerstein, Take One: Review for WETA (http://www.weta.org/fmblog/?p=146)
Feltsman: Review for ionarts (http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html)
Hewitt, live: (one of my first reviews, more cute than useful (http://ionarts.blogspot.com/2003/12/angela-joy-of-mans-desiring-by-jens.html))
Quote from: Tyson on January 21, 2009, 10:44:06 PM
Schiff on ECM is pretty good, but I like Hewitt even better. There's just something about her cool, intellectual, but still vibrant approach that I find immensely appealing.
Seconded--but I wouldn't characterize her approach that way except perhaps in contrast to Schiff's new ECM disc. To me she's introspective but playful, attuned to the underlying dance rhythms, and deeply passionate (but not the sort of gal who wears her heart on her sleeve). Thanks to Don's growing appreciation of it, I bought Dinnerstein's overhyped disc last year and have found much to admire in her more introspective and carefully shaped reading. And I love both of Gould's studio recordings, of course, but they're not the same without the repeats.
I love Bach's keyboard works on piano and expect that he would, too. A modern piano has so much greater dynamic range and rich variability of tone that comparing it to a harpsichord is like comparing a big screen plasma TV to one of those little 1940s black and white CRTs. And, as Schiff says in the liner notes for his ECM recording:
Quote from: Andras SchiffThere will always be those who maintain that to play it on a modern piano is an abominable sin. Let them believe so, it's just as useless trying to convince them as to make carnivores out of vegetarians. To many others the tone of the piano is preferable to that of the harpsichord and let's not forget that we are talking about an hour and a quarter of music -- hands on heart, can you listen to the harpsichord that long?
Quote from: Tyson on January 21, 2009, 10:44:06 PM
Schiff on ECM is pretty good, but I like Hewitt even better. There's just something about her cool, intellectual, but still vibrant approach that I find immensely appealing.
Schiff and Hewitt are both superb, particularly Hewitt. As another mentioned above, Hewitt's approach has some playfulness in it, as well as a certain technical rigor. I hesitate to call it cool, because her performance of the well known variation 25 (Landowska's "black pearl") is sensitive without being sentimental.
But, for a hoot, some of the transcriptions can be quite engaging. I have and enjoy both of these:
(http://ecx.images-amazon.com/images/I/41XAHEGQ2RL._SL500_AA240_.jpg)
http://www.amazon.com/Bach-Goldberg-Variations-Transcription-Strings/dp/B000005J2R/ref=sr_1_1?ie=UTF8&s=music&qid=1237993045&sr=8-1
(http://g-ecx.images-amazon.com/images/G/01/ciu/ff/1b/52eb228348a080ccf9f87110.L.jpg)
http://www.amazon.com/Johann-Sebastian-Bach-Goldberg-Variationen-Version/dp/B00000599C/ref=sr_1_3?ie=UTF8&s=music&qid=1237993184&sr=8-3
Regarding the harpsichord question, since Bach wrote this specifically for a two manual harpsichord I take it for granted that any serious listener owes it to him or herself to hear the piece performed on harpsichord. But I can't sit through it played all the way through on one of those contraptions.
Quote from: DavidRoss on March 25, 2009, 06:51:32 AM
And, as Schiff says in the liner notes for his ECM recording:
we are talking about an hour and a quarter of music -- hands on heart, can you listen to the harpsichord that long?
I have serious problems with listening to A Schiff more than a quarter of an hour at the time.
Quote from: premont on March 25, 2009, 07:31:33 AM
I have serious problems with listening to A Schiff more than a quarter of an hour at the time.
;D Too bad. That means you'll miss some fine music-making. 8)
Quote from: DavidRoss on March 25, 2009, 07:33:11 AM
;D Too bad. That means you'll miss some fine music-making. 8)
Just an infinite small fraction of what you will miss if you reject Leonhardt, Ross, Gilbert, Hantaï, et.c.et.c.
Quote from: premont on March 25, 2009, 07:31:33 AM
I have serious problems with listening to A Schiff more than a quarter of an hour at the time.
Here's a tip. Play the Schiff recording back through your cell phone speaker, sounds just like a harpsichord! ;D
Quote from: nut-job on March 25, 2009, 07:38:19 AM
Here's a tip. Play the Schiff recording back through your cell phone speaker, sounds just like a harpsichord! ;D
Brilliant!
Quote from: premont on March 25, 2009, 07:31:33 AM
I have serious problems with listening to A Schiff more than a quarter of an hour at the time.
Listen to one variation a day. That will give you just about one month worth of listening pleasure.
Quote from: nut-job on March 25, 2009, 07:38:19 AM
Here's a tip. Play the Schiff recording back through your cell phone speaker, sounds just like a harpsichord! ;D
Easy now, I am not that desperate, as I am not forced to listen to him (neither by my own taste nor for some other irrational reason). ;D
I could listen to the Goldbergs all day on either a piano or harpsichord. This blind spot that Schiff and others have for the harpsichord is a bit puzzling.
I just purchased the Tureck recording (GROC). I am leaving on a ten day business trip. I am thinking about bringing all (or most) of my Goldberg recordings on the road with me. (It is my usual practice to bring CDs with me, for listening at leisure, at airport, etc.)
Yudina's may not be the best but she has her moments and this Bach with Muscle can be the right thing when you are in certain mood. I would not want to be without it. Right now my favorite is Schepkin but this may change at any time as Gould (both versions), Tureck, Kempff have all been my favorite at one time or another. I like some of the harpsichord recordings, transcriptions etc as well. The only one I strongly dislike so far is Landawska!
Quote from: James on March 25, 2009, 08:35:26 AM
I couldn't agree more, Schiff's Bach is brilliant.
Quote from: James on March 25, 2009, 08:59:05 AM
He wouldn't be missing much though, I'd rather listen to & recommend Schiff's Bach (i.e. the Partitas/Decca) over any of those.
Will wonders never cease? I didn't think you and I would ever agree on
anything. Good to see that there's some common ground after all, besides remembering how thrilling it was to see
Bonanza in color for the first time. ;)
Quote from: James on March 25, 2009, 08:59:05 AM
He wouldn't be missing much though, I'd rather listen to & recommend Schiff's Bach (i.e. the Partitas/Decca) over any of those.
I think that anyone who restricts his/her listening of Bach's keyboard works to "piano only" or "harpsichord only" is missing a great deal. They also sound wonderful on fortepiano or clavichord (assuming the performer is excellent).
Listened to Hantai's first recording on Naive and Schiff's 2nd on ECM. Both are fantastic and quite similar in mood painting.
Quote from: nut-job on March 25, 2009, 07:07:16 AM
Schiff and Hewitt are both superb, particularly Hewitt. As another mentioned above, Hewitt's approach has some playfulness in it, as well as a certain technical rigor. I hesitate to call it cool, because her performance of the well known variation 25 (Landowska's "black pearl") is sensitive without being sentimental.
But, for a hoot, some of the transcriptions can be quite engaging. I have and enjoy both of these:
(http://ecx.images-amazon.com/images/I/41XAHEGQ2RL._SL500_AA240_.jpg)
http://www.amazon.com/Bach-Goldberg-Variations-Transcription-Strings/dp/B000005J2R/ref=sr_1_1?ie=UTF8&s=music&qid=1237993045&sr=8-1
(http://g-ecx.images-amazon.com/images/G/01/ciu/ff/1b/52eb228348a080ccf9f87110.L.jpg)
http://www.amazon.com/Johann-Sebastian-Bach-Goldberg-Variationen-Version/dp/B00000599C/ref=sr_1_3?ie=UTF8&s=music&qid=1237993184&sr=8-3
Regarding the harpsichord question, since Bach wrote this specifically for a two manual harpsichord I take it for granted that any serious listener owes it to him or herself to hear the piece performed on harpsichord. But I can't sit through it played all the way through on one of those contraptions.
I have had the violin transcription CD for some times and still am not sure if I like it that much ...
1.) This is the disc you boys should be talking about.
Highly enjoyable (and more).
(http://ecx.images-amazon.com/images/I/311uDqaamCL._SL500_AA240_.jpg)
BACH, Goldberg Variations, Zhu Xiao-Mei, Mirare (http://www.amazon.com/exec/obidos/ASIN/B000U7V9YO/goodmusicguide-20)
(Cheap in France (http://www.amazon.fr/exec/obidos/ASIN/B000U7V9YO/nectarandambrFR-21))
2.) The Sitkovetsky Transcription is very well done. One of the finest of the more intrusive Bach transcriptions I have heard. Probably _the_ finest.
from my "Goldberg Variations Variations (http://www.weta.org/fmblog/?p=167)" piece for WETA:
QuoteBack to the Goldberg Variations courtesy of Misha Maisky, Julian Rachlin, and Nobuko Imai. Among the transcriptions for accordion, saxophone, brass ensemble, octet, etc.—some of which are little more than novelties—the Dmitri Sitkovetsky string transcription, dedicated to Glenn Gould, is probably the finest and most serious. And Sitkovetsky's own string-trio version of that is better, still, to these ears.
There must be five or six versions variably available, but the choice really comes down to Sitkovetsky's 1995 recording on Orfeo with Gérard Caussé and Mischa Maisky, or the latter's already mentioned new DG recording. Both are played with total dedication and technically without fault; but Sitkovetsky, skipping most repeats, takes less time (a bit under an hour) and sounds a little faster, too. Maisky and friends take all the repeats and clock in at just over 80 minutes, just in time to keep it from sprawling onto a second disc.
Though the performances are, by nature of the instruments' possibilities, more leisurely paced than the early Glenn Gould, emotional if not definite connections to both of the Gould recordings can be heard. And as far as the transcription-rationalization No.1 ("it brings out new aspects of a well known work") is concerned: Yes, it really does. The communicativeness of the contrapuntal lines is exquisitely followable. A very enjoyable adventure, this is—and not just for the Goldberg-obsessed fringe. This music is as mainstream-friendly as the three famous performers. Now all you need is Uri Caine's truly whacky recording of his seventy (!) Goldberg Variation Variations and Jacques Loussier's supremely charming, easy going Jazz-trio version and you are set.
That is until the version for Bagpipe-nonet is discovered to be irresistible.
3.) The Schiff recordings never quite convinced me entirely. Well, the ECM probably did... the other one, not unlike Hewitt's, is just so very understated. He's "surrounded" from all (wacky) sides by the Feltsmans ("extrovert"), Stadtfelds ("gratuitous"), Goulds ("Gouldesque"), Perahias ("masculine romanticism"), Dinnersteens ("pink chiffon")... so that the neutral middle is established in my head as a platonic Ur-version and I don't need to hear it anymore. That said, I have to admit that Xiao-Mei probably fall pretty close to the circle of excentricities, because she's a
very unmannered player.
Exempting current favorite Xiao-Mei, of the above, and one of the most "pianistic" versions, Perahia is a favorite.
4.) Harpsichord: Absolutely love me a good harpsichord version.
QuotePierre Hantaï sparkles in every note on his first recording on op.111 (1992) (http://www.amazon.com/exec/obidos/ASIN/B0000DEQDA/nectarandambr-20), presents a woven carpet of bubbly sound. Most pleasing – also a surface-focused account (not to be mistaken for superficial). Hantaï's more recent recording is on the Mirare label (2003) (http://www.amazon.com/exec/obidos/ASIN/B0000T6KEG/nectarandambr-20), which has so far produced only winners. I don't own it but have heard it a few times. The superficial impression is a similar, slightly slower account, less straightforward as his on op.111 – with slightly better, deeper sound. What it did not strike me as, however, was the kind of revelation that Christophe Rousset's Clavierbüchlein für Wilhelm Friedemann (Ambroise, 2005) (http://ionarts.blogspot.com/2005/11/harpsichord-like-rarely-ever.html) presented in terms of sound of instrument and recording.
Among the lot, the choice would be difficult to make – although it is difficult not to be impressed by Suzuki and carried away by Hantaï. Jarrett is less obviously a top contender – but I found him to hold up against most of the competition because his rhythm, perhaps seemingly stiff at first, reveals itself to have spine and keeps the work fresh from the first note to the last, never allowing the tension or propulsion to sag. Egarr presses softer buttons altogether; those who look for sensitivity might find their match here.
Landowska responded to Pablo Casals critique of her Bach: "You perform Bach your way, I perform him his way." That's still funny, if for different reasons. To think that Landowska's Pleyel (http://www.amazon.com/exec/obidos/ASIN/B00002DDV7/nectarandambr-20) resembled a harpsichord from Bach's time any more than a Steinway D is a stretch. Egarr (http://www.amazon.com/exec/obidos/ASIN/B000ECXBN2/nectarandambr-20), however, might just have a claim to this statement. Whether that is enough to merit the inclusion of this disc depends on the listener's desire to hone in as closely as possible to what the original may have, ideally, sounded like... and his or her willingness to double and triple up on G-berg recordings. For me, this is not a first choice, but a most welcome, well and warmly played addition to the bulging shelf where I particularly cherish Suzuki (fast), Hantaï (sparkle) (http://www.amazon.com/exec/obidos/ASIN/B0000T6KEG/nectarandambr-20), Jarrett ("The Stork") (http://www.amazon.com/exec/obidos/ASIN/B00004STOZ/nectarandambr-20) on harpischord - and Gould (required) (http://www.amazon.com/exec/obidos/ASIN/B00006FI7C/nectarandambr-20), Perahia (romantic - Sony) (http://www.amazon.com/exec/obidos/ASIN/B00004Z3PV/nectarandambr-20) and, as of late, Lifschitz (http://www.amazon.com/exec/obidos/ASIN/B0000034XW/nectarandambr-20) (as nimble as Gould with more interesting rhythm - in Denon's great sound) on piano.
Quote from: jlaurson on March 26, 2009, 02:32:41 AM3.) The Schiff recordings never quite convinced me entirely. Well, the ECM probably did... the other one, not unlike Hewitt's, is just so very understated. He's "surrounded" from all (wacky) sides by the Feltsmans ("extrovert"), Stadtfelds ("gratuitous"), Goulds ("Gouldesque"), Perahias ("masculine romanticism"), Dinnersteens ("pink chiffon")... so that the neutral middle is established in my head as a platonic Ur-version and I don't need to hear it anymore. That said, I have to admit that Xiao-Mei probably fall pretty close to the circle of excentricities, because she's a very unmannered player.
Exempting current favorite Xiao-Mei, of the above, and one of the most "pianistic" versions, Perahia is a favorite.
If Schiff's ECM and Hewitt's are understated, then give me more understatement. Which is not to say that slapstick hasn't its place. I really liked Perahia's when released, but after awhile resumed reaching automatically for Gould. Perhaps it's time I spin him again, keeping "masculine romanticism" in mind. (What is "masculine romanticism" anyway? Ashkenazy, perhaps? It's just that I'm having a hard time clearing my mind of the image of John Wayne playing sorrowful Werther.)
Quote from: DavidRoss on March 26, 2009, 04:02:36 AM
(What is "masculine romanticism" anyway?
Indulgent, but not rose-oil infused. Luxuriant, but not a lather of creamy body-wash. Warm hued, but not scented apricot candles. Rubato, but not wafting about.
I forgot to mention Koroliov, whose Variations (though not exactly the Aria) are phenomenal. (One of those "Driveway Moments", if you are familiar with that Public Radio phrase.)
Quote from: jlaurson on March 26, 2009, 04:15:09 AM
Indulgent, but not rose-oil infused. Luxuriant, but not a lather of creamy body-wash. Warm hued, but not scented apricot candles. Rubato, but not wafting about.
Well said.
Quote from: jlaurson on March 26, 2009, 04:15:09 AM
Indulgent, but not rose-oil infused. Luxuriant, but not a lather of creamy body-wash. Warm hued, but not scented apricot candles. Rubato, but not wafting about.
Ah. Better break out the elk musk, lampblack, blowtorch, and metronome. Roger that.
I enjoy this Goldberg Variations ...
Quote from: Coopmv on March 26, 2009, 06:38:15 PM
I enjoy this Goldberg Variations ...
Sorry for the lousy picture, as I have not bothered to scan in my own original CD artwork ...
And what is wrong with Goldberg Variations performed on harpsichord. I love this recording by Leonhardt ...
Quote from: Coopmv on March 26, 2009, 06:43:30 PM
Sorry for the lousy picture, as I have not bothered to scan in my own original CD artwork ...
No worries, it's the
performance that matters, right? :)
Quote from: jlaurson on March 26, 2009, 02:32:41 AM3.) The Schiff recordings never quite convinced me entirely. Well, the ECM probably did... the other one, not unlike Hewitt's, is just so very understated. He's "surrounded" from all (wacky) sides by the Feltsmans ("extrovert"), Stadtfelds ("gratuitous"), Goulds ("Gouldesque"), Perahias ("masculine romanticism"), Dinnersteens ("pink chiffon")...
Quote from: jlaurson on March 26, 2009, 04:15:09 AM
Indulgent, but not rose-oil infused. Luxuriant, but not a lather of creamy body-wash. Warm hued, but not scented apricot candles. Rubato, but not wafting about.
OK, I popped Perahia in and got it. You mean masculine as in yang--outgoing, assertive, firm, forthright, warm, and so on--as contrasted with Dinnerstein's yin--introspective, contemplative, tentative, soft, cool, and so on. Duh!
Quote from: George on March 26, 2009, 07:23:57 PM
No worries, it's the performance that matters, right? :)
Here is a better original CD artwork for Maria Tipo's Goldberg Variations ...
Quote from: Bulldog on March 25, 2009, 02:52:08 PM
Listened to Hantai's first recording on Naive and Schiff's 2nd on ECM. Both are fantastic and quite similar in mood painting.
Include me in the list of people here who were very impressed by
Schiff's live ECM Goldberg, the music really flows wonderfully and has a vitality and sparkling nature I have not heard from Schiff's older work (this is not understated!), I will put it up in the top 3 piano versions I have heard, and I am really not a big Schiff fan..............Hantai/Naive still rules all harpsicord versions
(http://ecx.images-amazon.com/images/I/41l%2B5eds4aL._SL500_AA240_.jpg)
Quote from: DarkAngel on December 12, 2009, 12:10:26 PM
Include me in the list of people here who were very impressed by Schiff's live ECM Goldberg, the music really flows wonderfully and has a vitality and sparkling nature I have not heard from Schiff's older work (this is not understated!), I will put it up in the top 3 piano versions I have heard, and I am really not a big Schiff fan..............Hantai/Naive still rules all harpsicord versions
(http://ecx.images-amazon.com/images/I/41l%2B5eds4aL._SL500_AA240_.jpg)
Check out Hantai's more recent account on Mirare. It's quite different from the 1st go-around: more introspective with deeper emotional palette. I remember that a few reviewers felt both versions were similar; I think those guys are damaged.
Quote from: Bulldog on December 12, 2009, 03:34:46 PM
I think those guys are damaged.
[...raises hand with ashamed look on face]
http://ionarts.blogspot.com/2006/04/goldberg-variations.html (http://ionarts.blogspot.com/2006/04/goldberg-variations.html)
QuotePierre Hantaï sparkles in every note on his first recording on op.111 (1992), presents
a woven carpet of bubbly sound. Most pleasing – also a surface-focused account (not to be
mistaken for superficial). Hantaï's more recent recording is on the Mirare label (2003), which
has so far produced only winners. I don't own it but have heard it once or twice. The
superficial impression is a similar, slightly slower account, less straightforward as his on
op.111 – with slightly better, deeper sound. What it did not strike me as, however, was the
kind of revelation that Christophe Rousset's Clavierbüchlein für Wilhelm Friedemann
(Ambroise, 2005) presented in terms of sound of instrument and recording.
Well, we have a number of
Bach Goldberg Variations threads going at the moment - but I just posted a 'harp' comparison, both excellent, in the
Listening Thread which will likely get buried soon - so just wanted some longevity in another more dedicated thread - if you like the harp, one or both of these recordings is a definite buy (and will put you to sleep better than a harpsichord version!) - ;) ;D Dave
Quote from: SonicMan on January 30, 2010, 04:02:43 PM
Bach, JS - Goldberg Variations played on the pedal harp by two different performers, i.e. Catrin Finch vs. Sylvain Blassel - the harps are different - Blassel plays a Erad from 1904 - not sure about Finch's harp from the liner notes.
These are both beautiful performances but different - Blassel's harp has a much smoother & soothing sound (explained in the line notes) - he also gets through these performances in a shorter time (< 10 minutes vs. Finch) - to tell the truth, I have these works on piano, harpsichord, and now harp - these variations were presumably composed to make some aristocrat fall asleep (and done on a harpsichord by Johann Goldberg - this is disputed for a variety of reasons) - but at any rate, if I wanted a recording of the Goldberg Variations to make me 'fall asleep', a harp version would certainly be the one! :D
Now, back to Catrin Finch, her performances are just as enjoyable - her harp is not as 'smooth' - more like a Celtic instrument (but hey she is Welsh and the harpist for the Prince of Wales!) - Susan (i.e. Harpo) plays these harps and I enjoy them! Tonight at dinner we listened to these two discs 'back to back' - Harpo liked Blassel, and I preferred Finch for her 'rougher' sounding harp and a much more forward recording - i.e. she was in the room w/ you.
So, if you must choose (I'm keeping both CDs), you have to at least listen to some samples or just get both recordings and decide for yourself! :)
(http://giradman.smugmug.com/Other/Classical-Music/BachCatrinFinch/764533145_Fxarb-S.jpg) (http://giradman.smugmug.com/Other/Classical-Music/BachGoldbergBlassel/776859891_XHzon-S.jpg)
Quote from: jlaurson on March 26, 2009, 02:32:41 AM
1.) This is the disc you boys should be talking about.
Highly enjoyable (and more).
(http://ecx.images-amazon.com/images/I/311uDqaamCL._SL500_AA240_.jpg)
BACH, Goldberg Variations, Zhu Xiao-Mei, Mirare (http://www.amazon.com/exec/obidos/ASIN/B000U7V9YO/goodmusicguide-20)
(Cheap in France (http://www.amazon.fr/exec/obidos/ASIN/B000U7V9YO/nectarandambrFR-21))
Concur!
Quote from: jlaurson on December 12, 2009, 03:45:01 PM
[...raises hand with ashamed look on face]
http://ionarts.blogspot.com/2006/04/goldberg-variations.html (http://ionarts.blogspot.com/2006/04/goldberg-variations.html)
Well, you did say the newer Hantai was slower and less straightforward than the first one, so we agree there.
Quote from: Coopmv on March 26, 2009, 06:51:39 PM
And what is wrong with Goldberg Variations performed on harpsichord. I love this recording by Leonhardt ...
Nothing's wrong on harpsichord, but you can't expect much harpsichord talk on a piano thread (unless you keep mentioning the harpsichord).
Quote from: Bulldog on January 30, 2010, 08:23:46 PM
Nothing's wrong on harpsichord, but you can't expect much harpsichord talk on a piano thread (unless you keep mentioning the harpsichord).
Indeed, the link for those interested:
Goldberg Variations on Harpsichord (http://www.good-music-guide.com/community/index.php/topic,6126.0.html). :)
Q
Quote from: jlaurson on March 26, 2009, 02:32:41 AM
3.) The Schiff recordings never quite convinced me entirely. Well, the ECM probably did... the other one, not unlike Hewitt's, is just so very understated. He's "surrounded" from all (wacky) sides by the Feltsmans ("extrovert"), Stadtfelds ("gratuitous"), Goulds ("Gouldesque"), Perahias ("masculine romanticism"), Dinnersteens ("pink chiffon")... so that the neutral middle is established in my head as a platonic Ur-version and I don't need to hear it anymore. That said, I have to admit that Xiao-Mei probably fall pretty close to the circle of excentricities, because she's a very unmannered player.
A couple more piano Goldbergs have been ordered.............That description of
Feltsman caught my attention and very cheap now used and new, also ordered
Schepkin to go with his partitas from that thread here recently.........any day now Staier version for harpsicord will be released. The "wacky" extroverts will always be welcome in my collection ;)
Quote from: DarkAngel on January 31, 2010, 04:43:35 AM
A couple more piano Goldbergs have been ordered.............
That description of Feltsman caught my attention and very cheap now used and new, also ordered Schepkin to go with his partitas from that thread here recently.........any day now Staier version for harpsicord will be released. The "wacky" extroverts will always be welcome in my collection ;)
I was listening again to the Feltsman a couple of days ago. Excellent interpretations except for his horrid repeats that take up half the disc; in some of those repeats he actually uses his own melody lines. Sorry, but I'll take Bach over Feltsman any day.
Quote from: DarkAngel on January 31, 2010, 04:43:35 AM
A couple more piano Goldbergs have been ordered.............
That description of Feltsman caught my attention and very cheap now used and new, also ordered Schepkin to go with his partitas from that thread here recently.........any day now Staier version for harpsicord will be released. The "wacky" extroverts will always be welcome in my collection ;)
With Feltsman, I will only say
caveat emptor.
Quote from: Bulldog on January 31, 2010, 07:22:38 AM
I was listening again to the Feltsman a couple of days ago. Excellent interpretations except for his horrid repeats that take up half the disc; in some of those repeats he actually uses his own melody lines. Sorry, but I'll take Bach over Feltsman any day.
QuoteWith Feltsman, I will only say caveat emptor.
Sounds like something Gould would approve of......which is fine by me, looking for some fresh thinking and individuality ;)
Quote from: DarkAngel on January 31, 2010, 08:12:09 AM
Sounds like something Gould would approve of......which is fine by me, looking for some fresh thinking and individuality ;)
If you are really interested in Feltsman's Bach, then you should consider his partitas -- just don't buy them at Amazon where they are grossly overpriced. I think his Partitas are better than his Goldbergs.
Try Barnes & Noble or HB Direct for better prices on the Partitas.
Quote from: Bunny on January 31, 2010, 07:39:15 AM
With Feltsman, I will only say caveat emptor.
Bunny looks like Jens has a review posted for
Feltsman's Goldberg:
http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm (http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm)
Quote from: DarkAngel on January 31, 2010, 08:27:19 AM
Bunny looks like Jens has a review posted for Feltsman's Goldberg:
http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm (http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm)
I still say caveat emptor with Feltsman, however his Bach is better than some other things I have heard.
Quote from: DarkAngel on January 31, 2010, 08:27:19 AM
Bunny looks like Jens has a review posted for Feltsman's Goldberg:
http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm (http://www.musicweb-international.com/classrev/2008/May08/Bach_Goldberg_NI2507.htm)
Yes... but badly edited... so this is easier to read: http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html (http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html)
Re: Bunny: You keep repeating "Caveat emptor", but aren't actually saying anything. In and of itself, the words "caveat emptor" are meaningless...
What is it that one should consider, in particular, before making the decision to go for Feltsman? (Not that I can't think of a few points to state on that account...)
Quote from: jlaurson on January 31, 2010, 08:37:23 AM
Yes... but badly edited... so this is easier to read: http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html (http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html)
Re: Bunny: You keep repeating "Caveat emptor", but aren't actually saying anything. In and of itself, the words "caveat emptor" are meaningless... What is it that one should consider, in particular, before making the decision to go for Feltsman? (Not that I can't think of a few points to state on that account...)
Whenever I have purchased any of his recordings or heard him in concert I have found aspects that I love and aspects that I detest. I can't really express this perfectly, but I always approach anything by him with a sense of caution. His concerts are similarly confounding. Re: Goldbergs -- there is always a point when listening where I become very irritated by what I can only describe as an exaggerated style of detaché to the point of staccato touch. Then the feeling departs, and then when I least expect it, something in the play on the piano again rubs the wrong way. I am always cautious listening to him in any repertoire (his dynamics frequently sound too heavy handed so that textures blur). I just can't relax and sink completely into the performance. Hence, I repeat: let the buyer beware.
Quote from: Bunny on January 31, 2010, 09:01:02 AM
Whenever I have purchased any of his recordings or heard him in concert I have found aspects that I love and aspects that I detest. I can't really express this perfectly, but I always approach anything by him with a sense of caution. His concerts are similarly confounding. Re: Goldbergs -- there is always a point when listening where I become very irritated by what I can only describe as an exaggerated style of detaché to the point of staccato touch. Then the feeling departs, and then when I least expect it, something in the play on the piano again rubs the wrong way. I am always cautious listening to him in any repertoire (his dynamics frequently sound too heavy handed so that textures blur). I just can't relax and sink completely into the performance. Hence, I repeat: let the buyer beware.
Now we're talking. ;D
Would anyone be interested in decent sounding bootleg of Grigory Sokolov's live performance of Goldbergs?
Quote from: Drasko on January 31, 2010, 12:54:42 PM
Would anyone be interested in decent sounding bootleg of Grigory Sokolov's live performance of Goldbergs?
Yup! :D
Quote from: Drasko on January 31, 2010, 12:54:42 PM
Would anyone be interested in decent sounding bootleg of Grigory Sokolov's live performance of Goldbergs?
Sure! Why not?
Ok,
Grigory Sokolov - Bach BWV 988" - 86’43/ Recorded in the Grand Hall of the Leningrad Philharmonic Society, February 27, 1982
http://files.mail.ru/IW2R3Z
(to download wait 10 seconds countdown then click on link saying BachGoldVarSok.rar )
rar password if needed:
www.intoclassics.net
Quote from: Drasko on February 01, 2010, 06:11:23 AM
Ok,
Grigory Sokolov - Bach BWV 988" - 86'43/ Recorded in the Grand Hall of the Leningrad Philharmonic Society, February 27, 1982
http://files.mail.ru/IW2R3Z
(to download wait 10 seconds countdown then click on link saying BachGoldVarSok.rar )
rar password if needed:
www.intoclassics.net
Thanks, Drasko! :-*
Quote from: Novi on February 02, 2010, 09:25:31 AM
Thanks, Drasko! :-*
Yes, thank you. :) I'm yet to listen to that Hewitt recital completely -- she takes all the repeats in the world! But it doesn't hurt to add another Goldberg to the list.
Quote from: Bunny on January 31, 2010, 07:39:15 AM
With Feltsman, I will only say caveat emptor.
I have listened to
Feltsman/Nimbus Goldberg and WTC I,II and they just don't impress me much
I have placed them on the CDs to sell pile (good thing they were cheap at Amazon).......the WTCs especially did little to keep my interest, many slower parts seemed to drag and lack inspiration I hear in Gould, Feinberg and other piano versions.....now I know
(http://ecx.images-amazon.com/images/I/51613ILkv7L._SL500_AA240_.jpg) (http://ecx.images-amazon.com/images/I/51YSIyRJgIL._SL500_AA240_.jpg)
Quote from: DarkAngel on February 13, 2010, 02:04:07 PM
I have listened to Feltsman/Nimbus Goldberg and WTC I,II and they just don't impress me much
I have placed them on the CDs to sell pile (good thing they were cheap at Amazon).......the WTCs especially did little to keep my interest, many slower parts seemed to drag and lack inspiration I hear in Gould, Feinberg and other piano versions.....now I know
(http://ecx.images-amazon.com/images/I/51613ILkv7L._SL500_AA240_.jpg) (http://ecx.images-amazon.com/images/I/51YSIyRJgIL._SL500_AA240_.jpg)
What did you think of Feltsman's repeats in the Goldbergs?
Quote from: Bulldog on February 13, 2010, 03:42:47 PM
What did you think of Feltsman's repeats in the Goldbergs?
I actually liked the Feltsman Goldberg better than WTCs, I don't recall anything that sounded out of placed or strangely exaggerated to me in the repeats, I heard Goldberg first and thought that was pretty good I will surely like the WTCs also......unfortuantely that was not the case for me, WTC left me wanting more
There was a 7+ day delay till I finally heard the Feltsman WTCs, perhaps I am beiing too optimistic about the Goldberg in retrospect, regardless they are both in the CD sell pile ::)
Quote from: DarkAngel on February 13, 2010, 04:37:20 PM
I actually liked the Feltsman Goldberg better than WTCs, I don't recall anything that sounded out of placed or strangely exaggerated to me in the repeats, I heard Goldberg first and thought that was pretty good I will surely like the WTCs also......unfortuantely that was not the case for me, WTC left me wanting more
There was a 7+ day delay till I finally heard the Feltsman WTCs, perhaps I am beiing too optimistic about the Goldberg in retrospect, regardless they are both in the CD sell pile ::)
Those delays can really be annoyance. Remember Caiman? Either they delivered super fast at super cheap prices or you waited weeks until they canceled the order. They are gone! The operation seems to have folded although Tower.com, which they own is still going.
I'm not familiar with the recordings, but I recently heard Feltsman doing some Bach and Mussorgsky (have I spelled it right?) and that night I felt that in the Mussorgsky he had two ways of playing the piano: loud and louder. His Bach was easier on the ears than the Mussorgsky, but I didn't care for his touch or dynamics in that either. I remember when he was "imprisoned" in the American Embassy in Moscow, trying to get permission from the Soviet government to emigrate. He was lauded as such a great pianist, especially for Chopin. They recorded a concert he did at the Embassy which I found, also because of the sound quality, extremely disappointing. Although I was routing for him to get permission to leave, I just couldn't understand the hype about his playing.
Btw, at the concert I attended, he was a last minute substitute for Krystian Zimerman who pulled out because of illness. I hope Zimerman is now doing better.
Daniel Pienaar has a new recording of the GV on Avie in which his main interpretive aim seems to have been setting new speed records in all but a small handful of the variations. Judging from the previews at Amazon.com, he also seems to skip most of the repeats, and in so doing he manages to fit the entirety of BWV 988, plus the fourteen Goldberg canons and a charming rendition of Bist Du Bei Mir, all within a total time of 56:25.
[asin] B005KO3KDA[/asin]
On a purely technical level, the disc is somewhat impressive, although I'm sure many pianists could match these tempos if they showed equally little regard for phrasing and clarity of articulation. Further in the "Pro" category: the inverted canon at the fifth comes off well at Pienaar's rather lively tempo, and the uncommonly leisurely pace he sets for the canon at the sixth is also a pleasure at least in the context of his overall performance.
All in all, this is by no means a likely purchase for me — but I might give it a listen straight through if I find it at NML — after all, it's less than an hour of my time.
A current favorite of mine on piano for the Goldbergs is the Chinese pianist Zhu Xiao-Mei, based in Paris, who records on the Mirare label. I enjoyed her WTC, and her Goldbergs is also very fine, as is her Haydn disc.
Quote from: Bulldog on February 13, 2010, 03:42:47 PM
What did you think of Feltsman's repeats in the Goldbergs?
http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html (http://ionarts.blogspot.com/2008/05/more-goldberg-variations.html)
Quote...Conservatory (it was the 16 year old Lifschitz's graduate recital, if I recall correctly), also observes all the repeats, and also employs mock register changes.
Feltsman's touch is very deliberate, delicate, and of weightless elegance in the aria, though never 'precious'. Very early on it becomes clear that Feltsman plays Bach more as if he were performing on a harpsichord than any pianist I have heard, but he doesn't do it in the Gould way of trying to make the piano sound like the harpsichord it isn't. No repeat is exactly as the first – there are always changes in registration, ornamentation, or voicing – sometimes all of them together. That can sound idiosyncratic, even here, but sufficient musical sensibility and taste prevent the playing from ever nearing wayward vulgarity.
The arpeggiated four note chord in the 11th bar of the aria, a calling card for every interpreter, is first taken from the top down (g2-e2-b-g) as does Gould (and various pianists, but usually only in the repeat) – to marvelous effect. Feltsman doesn't invert it in the repeat – which he starts out an octave higher, he makes it a coy bracketed step (g2- b- e2-g). The faux-register shifts, like Feltsman's in the aria repeat, can drive harpsichord players up the wall when done in place of actually changing nuances, because it seems to suggest that the pianist thinks that a harpsichord played really only changes octaves, rather than further vary his or her playing. Thankfully, Feltsman does t...
Quote from: Oldnslow on October 31, 2011, 04:25:35 PM
A current favorite of mine on piano for the Goldbergs is the Chinese pianist Zhu Xiao-Mei, based in Paris, who records on the Mirare label. I enjoyed her WTC, and her Goldbergs is also very fine, as is her Haydn disc.
One of my favorites, too. And don't forget her Scarlatti disc (http://www.amazon.co.uk/gp/product/B00004VN1S/ref=as_li_ss_tl?ie=UTF8&tag=goodmusicguideuk-21&linkCode=as2&camp=1634&creative=19450&creativeASIN=B00004VN1S); that's the bees' knees, too!
Quote from: PaulSC on October 31, 2011, 12:39:03 PM
Daniel Pienaar has a new recording of the GV on Avie in which his main interpretive aim seems to have been setting new speed records in all but a small handful of the variations. Judging from the previews at Amazon.com, he also seems to skip most of the repeats, and in so doing he manages to fit the entirety of BWV 988, plus the fourteen Goldberg canons and a charming rendition of Bist Du Bei Mir, all within a total time of 56:25.
On a purely technical level, the disc is somewhat impressive, although I'm sure many pianists could match these tempos if they showed equally little regard for phrasing and clarity of articulation. Further in the “Pro” category: the inverted canon at the fifth comes off well at Pienaar's rather lively tempo, and the uncommonly leisurely pace he sets for the canon at the sixth is also a pleasure at least in the context of his overall performance.
All in all, this is by no means a likely purchase for me — but I might give it a listen straight through if I find it at NML — after all, it's less than an hour of my time.
Does not sound that interesting judging from the amazon sound samples. I do like my piano Goldbergs fast, and in this domain, in addition to Gould '55, I really enjoy idiosyncratic Weissenberg '81 interpretation. It is posted in its entirety on Youtube: http://www.youtube.com/watch?v=3mX9qIVbMcA and further on.
I've been meaning to check out Weissenberg. Among GV's with generally fast tempos, my favorite pianistic rendition is probably Stefan Vladar.
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Quote from: PaulSC on October 31, 2011, 12:39:03 PM
Daniel Pienaar has a new recording of the GV on Avie in which his main interpretive aim seems to have been setting new speed records in all but a small handful of the variations. Judging from the previews at Amazon.com, he also seems to skip most of the repeats, and in so doing he manages to fit the entirety of BWV 988, plus the fourteen Goldberg canons and a charming rendition of Bist Du Bei Mir, all within a total time of 56:25.
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On a purely technical level, the disc is somewhat impressive, although I'm sure many pianists could match these tempos if they showed equally little regard for phrasing and clarity of articulation. Further in the "Pro" category: the inverted canon at the fifth comes off well at Pienaar's rather lively tempo, and the uncommonly leisurely pace he sets for the canon at the sixth is also a pleasure at least in the context of his overall performance.
All in all, this is by no means a likely purchase for me — but I might give it a listen straight through if I find it at NML — after all, it's less than an hour of my time.
I'm not a big fan of this recording. His fast tempos are not my problem, but the rather unmusical way he plays many of the variations. I don't get the sense that he really loves the Goldbergs, just that he wants to get through it as fast as possible; those quick tempos and lack of repeats insures a speedy turn-around. Matters do improve when he slows down, but there's nothing special here either.