Bach J.S: Goldberg Variations [Import] [Live]

Track Listings

1. (1) Variations Goldberg, Bwv 988 ( Aria )

2. (2-31) Variations 1-30

3. (32) Aria Da Capo

4. (33-46) Sinfonias (Inventions) A Trois Parties

Editorial Reviews
Album Details
Grand Repertoire Series.

Tracks:

Sei Lob Und Preis Mit Ehren
Erbarme Dich
Jesu, Joy Of Man's Desiring
Ertot' Uns Durch Dein' Gute
Ich Ruf' Zu Dir, Herr Jesu Christ
Kommst Du Nun, Jesu, Vom Himmel Herunter
Lab Mein Herz Die Munze Sein
Dein Blut, Der Edle Saft
'Air On A G String'
Cello Concerto In G Major
Cello Concerto In G Major
Cello Concerto In G Major
Cello Concerto In D Major
Cello Concerto In D Major
Cello Concerto In D Major
Cello Concerto In D Major
Was Gott Tut, Das Ist Wohlgetan
Aria From Goldberg Variations
Wachet Auf, Ruft Uns Die Stimme

Customer Reviews:

Simply the Best.......2005-05-31

I can only say, that as far as I am concerned, this is just some of the best music I have ever heard.... Im guessing this is the way Bach intended his music to sound in the first place, and who better for that than the AMO and Koopman...and of course YO YO... if u love classic music, you are absolutly going to LOVE this cd..I highly recommend it

Average customer rating:

what a pleasure...
Angela Hewitt plays Bach's "Goldberg Variations"
Contemplative Goldbergs
Perfection But No Passion
Bach and Hewitt as close friends

Goldberg Variations
J.S. Bach , and Angela Hewitt
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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Bach: The Well-Tempered Clavier (book 1)
Bach: French Suites / Angela Hewitt
Bach: The Six Partitas / Angela Hewitt
Bach: Well-Tempered Clavier, Book 2
Bach: The Toccatas

ASIN: B00004S3B4
Release Date: 2000-04-11

Amazon.com

Angela Hewitt's unashamedly pianistic Bach is enormously satisfying, full of coloristic effects, dynamic variation, rhythmic flexibility, precise articulation, and above all, a feel for the dance rhythms never far from the surface of this music. Despite a statement of the Aria that's just this side of ponderous, Hewitt's Goldbergs are a lively set. She manages to weave together the simultaneous strands of many of the variations while keeping them all crystal-clear. Also noteworthy is her subtle way with the repeats, often introducing nuances of rhythm and color to make them come alive. Incisive attacks and precise trilling add to the allure of her Goldbergs. Even if other pianists, such as Arrau, Gould, Schiff , and Tipo, have plumbed greater depths in the magnificent 25th Variation, Hewitt's disc is highly recommendable. Excellent sound, too. --Dan Davis

Customer Reviews:

what a pleasure..........2007-07-11

Here we have the spirit of Gould's performances without all the annoying features, such as his singing and excessive tempi. A worthy successor - that I listen to over and over again just for sheer pleasure.

Angela Hewitt plays Bach's "Goldberg Variations".......2005-09-12

Although Glen Gould's 1955 recording (the fast one) has always been my favorite, I was inspired to buy this CD after attending a concert with Ms. Hewitt playing Bach keyboard concertos. She has a completely different interpretation of the Goldberg.
It is at once majestic and intimate. There are many expressive
departures which make the contrapuntal lines more exciting than anything I have heard before. I heartily recommend this recording to anyone who loves Bach.

Contemplative Goldbergs.......2005-07-17

Bach wrote very, very few variation compositions like the "Goldberg Variations," but the one's he wrote are most memorable and monumental. Early in his career, he wrote a magnificant "Aria with Variations in the Italian Manner" (BWV989). Its repeating aria at the end along with the alternating fast/bright and slow/contemplative variations foreshadowed a model in these so-called Goldberg Variations - one of the towering 'summation works' Bach wrote late in his life at Leipzig.

With a full quiver of splendid recordings of Bach's keyboard music, it is not hard to believe that Angela Hewitt is the top-selling musical artist for the British Hyperion label. And this recording of her personal favorite Golderg Variations is another worthwhile CD in the series. Angela Hewitt's Goldbergs - and really all her Bach or Couperin in general - may be most simplistically characterized as having a more gentle, graceful and heartfelt style. She particularly excells on bringing out the joyful rhythms in the many Baroque-era 'dances' and as well as the inherent songfulness within the music. Technically, her smooth-as-silk long legato line, tasteful ornamental infusions, and intelligent progression all combine to create a delightful experience with Bach as heard in this fine recording.

Additionally, Hewitt is a master tonal colorist and is not shy to tactfully use the pedals and nuances of the modern piano to create a greater richness in the music - while taking care to avoid blurring her individual lines. Accordingly, she elects a wide dynamic range for this recording to elicit maximum expressivity. Where a pianist like Glenn Gould goes for maximum clarity of parts by completely avoiding the pedal (creating razor-sharp articulations within a very-forward recorded sound), Hewitt strives to balance crisp articulation with tonal beauty through such pianistic nuances as well as through a somewhat-spacious (but clear) recording ambiance. Her creativity in ornamentation and well-chosen shifts of tempo in the repeats (which she observes here) adds stylistic interest - but without straying too far from Bach's musical intentions.

In comparison to other Goldberg recordings (such as Perhahia's Award-Winning disc), Angela Hewitt's readings here seems to possess a more introspective, pensive tone and mood overall. Perhaps in the back of her mind she is tempering her expression in light of the legend that Bach wrote these pieces for his student Goldberg to play at night to help his employer, the insomniac Count Keyserling, pass the time during his sleepness nights. Hewitt's expressivity in the opening and closing Aria is as expected, thoughtful and beautiful. But, in the famous 25th "Black Pearl" Variation, she creates a somewhat veiled atmosphere with a slower tempo not unlike a funeral march. Personally, I felt it a bit too heavy rather than the more poignant and optimistic mood of Perahia - but such is art and individual preference. Contrastingly, in the brilliant fast variations, Miss Hewitt brings an ebulient clarity and precision to the music that is refreshing to mind and spirit. But, it is not the fully unleashed joy that Murray Perahia finds (in movements like the first variation) which overflow with a special vivacity. But Hewitt's readings here overall are no less enjoyable or admirable as such nuances are often purely personal. I tend to prefer Perahia's sparkling version on a sunny morning and Hewitt's more contemplative recording when reading late at night.

Other notable Goldberg recordings come from the Bach legend Rosalyn Tureck whose recordings are often a model for any serious student of the piano. Hungarian pianist Andras Schiff has also recorded some gorgeous Bach that often has a similar "sweetness" of style as Hewitt. As for Glenn Gould, his landmark 1955/1982 recordings rightfully caused a stirring in the music world and have a striking individuality and brilliantly clear articulation of voices (assuming you don't mind his intermittent humming and the less-than-perfect sound quality). Many others have also given great performances.

Hewitt's Goldberg CD received strong ratings from from many of the top reviewers like Penguin Guide and Gramophone and stands with a few others among the finer recordings. ClassicsToday was a bit more critical, giving this CD a rating of 8/10 for Artistic Quality and 9/10 for Sound Quality (noting a tendency for emotive restraint in some variations). I mostly agree with this last (8/10) assessment - out of Hewitt's Bach discography, I found her Goldbergs very enjoyable but just not quite as magical as her others. But, an additional highlight of this Hyperion CD is surely the superbly annotated notes revealing some history of this music and Ms. Hewitt's musical insights and approaches to each of the 30 variations. The notes alone might make Hewitt's CD preferable to others if you already have a version you really like. All-in-all, a most attractive and admirable recording (4.5 stars); but, like other reviewers and Gramophone conclude, Perahia's sparkling version (5 stars) strikes me as very special and takes top honors here in my opinion.

Perfection But No Passion.......2005-03-17

I have listened to Hewitt's entire Bach solo keyboard series which, for the most part, is a treasure. Her sensitivity to Bach's music is obvious, her technique is flawless, her touch at times magical, and her accompanying notes fascinating. But of her Bach series, I found her Goldberg to be something of a disappointment. This is a deeply passionate (not "Romantic") work, not simply an utterly perfect one. Hewitt captures its perfection, but not its passion. At critical moments (especially in the intense 25th variation) the emotionality of this work seems somehow to get away from her, almost as if it frightens her and forbids her to let go. I have to recommend Perahia's version above this one -- not, as one reviewer here states, because it's more "Romanitic", but because it's more passionate, more "real", more human. Then I'd say Rosalyn Tureck's. Then this one. (If, for some bizarre reason, you like Glenn Gould, get one of his ghastly versions. If you like Bach, and especially if you love Bach, don't!) I'd give all the others in Hewitt's series 5 stars for sure.

Bach and Hewitt as close friends.......2004-06-30

In my opinion there is a much neglected aspect of J.S. Bach: his love affair with life in itself. There is always a lot of talk about Bach and God, but Bach was first of all a man who understood to enjoy life in a deeper sense: with a full range of feelings and a full range of thoughts. The latter he produced himself in musical form.

Tracks:

Johann Sebastian Bach: Aria
Johann Sebastian Bach: Variatio 1 - a 1 Clav
Johann Sebastian Bach: Variatio 2 - a 1 Clav
Johann Sebastian Bach: Variatio 3 - Canone all'Unisono - a 1 Clav.
Johann Sebastian Bach: Variatio 4 - a 1 Clav
Johann Sebastian Bach: Variatio 5 - a 1 ovvero 2 Clav.
Johann Sebastian Bach: Variatio 6 - Canone alla Seconda - a 1 Clav.
Johann Sebastian Bach: Variatio 7 - a 1 ovvero 2 Clav - Al tempo di Giga
Johann Sebastian Bach: Variatio 8 - a 2 Clav
Johann Sebastian Bach: Variatio 9 - Canone alla Terza - a 1 Clav.
Johann Sebastian Bach: Variatio 10 - Fughetta - a 1 Clav.
Johann Sebastian Bach: Variatio 11 - a 2 Clav.
Johann Sebastian Bach: Variatio 12 - Canone alla Quarta - ( a 1 Clav.)
Johann Sebastian Bach: Variatio 13 - a 2 Clav.
Johann Sebastian Bach: Variatio 14 - a 2 Clav.
Johann Sebastian Bach: Variatio 15 - Canone alla Quinta - a 1 Clav. Andante
Johann Sebastian Bach: Variatio 16 - Ouverture - a 1 Clav.
Johann Sebastian Bach: Variatio 17 - a 2 Clav.
Johann Sebastian Bach: Variatio 18 - Canone alla Sesta - a 1 Clav.
Johann Sebastian Bach: Variatio 19 - a 1 Clav.
Johann Sebastian Bach: Variatio 20 - a 2 Clav.
Johann Sebastian Bach: Variatio 21 - Canone alla Settima. (a 1 Clav.)
Johann Sebastian Bach: Variatio 22 - a 1 Clav. Alla breve
Johann Sebastian Bach: Variatio 23 - a 2 Clav.
Johann Sebastian Bach: Variatio 24 - Canone all'Ottava - a 1 Clav.
Johann Sebastian Bach: Variatio 25 - a 2 Clav. Adagio
Johann Sebastian Bach: Variatio 26 - a 2 Clav.
Johann Sebastian Bach: Variatio 27 - Canone alla Nona - a 2 Clav.
Johann Sebastian Bach: Variatio 28 - a 2 Clav.
Johann Sebastian Bach: Variatio 29 - a 1 ovvero 2 Clav.
Johann Sebastian Bach: Variatio 30 - Quodlibet - a 1 Clav.
Johann Sebastian Bach: Aria

Customer Reviews:

MASTERFUL AND MESMERIZING: A GREAT GOLDBERG !.......2006-01-22

Five "Clavier-ed" Stars!! Bach's Goldberg variations, the last of the Clavierübung series, are part of his very ambitious and large masterwork of Baroque music dedicated solely to the harpsichord and are almost the only example of variations ever composed by Bach. Notice how the Arias (Number 1 and 32) bookend the thirty variations between them, achieving musical balance and reiteration. And how the Canons are repeated in intervals of 3 until Number 27.

Mr Jarrett is a musician well known in the music world for his total dedication, awesome technique, and fiendish attention to detail, sometimes striking fear into noisy audiences. His execution of these 32 variations on the harpsichord are fabulous renditions. His blazing technique is wonderful as he articulates each of the variations with aplomb, bordering on sangfroid.

My favorite 'Pieces De Resistance' are the 'Vituoso' pieces of 5, 8, 11, 14, 17, 20, 23, 26, and 29, plus the 'quodlibet', the 31st variation. In this case, these variation parts exceed the Aria themes in my opinion, perhaps as they should. Bravo, Keith Jarrett. Five HUGE Stars.

(Note: Legend says Bach was paid with a golden goblet full of coins for this alleged 'commissioned' Baroque masterwork written for Goldberg. If so, it wasn't enough. LOL)

Speechless.......2005-11-29

Without the singlest doubt, Wanda Landowska wouldn't allow mr. Jarrett even washing the dishes for her, let alone play her harpsichord.

Superb: an exquisite interpretation of a great master.......2005-10-29

Keith Jarrett is incredibly gifted both as a painist and as a harpsichordist. That he chose the harpsichord for his rendition of the Golberg Variations suggests that he found it capable of rendering a closer approximation of his ideal interpretation of these works. Hearing it is indeed a great joy!

Exquisite & sublime........2004-07-13

Keith Jarrett plays his harpsichord as if posessed by Bach's ghost, but I suspect Mr. Jarrett's musical talents might have even surpassed the old Master himself. My absolute favorite recording of the GV's - and I own quite a few. I can't recommend this CD more highly.

Skeletons on a Tin Roof.......2004-04-05

... is how Sir Thomas Beecham described harpsichord music, and I have to agree (he actually said it sounded like the skeletons were copulating on a tin roof in a thunderstorm).

On this recording, the playing, while accurate, is often slow and ponderous, and while the harpsichord sound is clear and the playing even, it jangles the nerves after a short while, and of course the harpsichord is inherently unable to bring out the inner voices of the many beautiful canons, dances, toccatas, and fugues in this monumental work.

Tracks:

Piano Concerto No. 1 - Andre Previn
Intermezzo - Philharmonia Orchestra
Rhapsody On A Theme Of Paganini - Sir Simon Rattle
O Mio Babbino Caro - London Symphony Orchestra
Viola Da Bamba Sonata In G Minor - Ton Koopman
Beim Schlafengehen - London Philharmonic Orchestra
Schindler's List Theme - Tasmin Little
Clair De Lune - Dame Moura Lympany
Symphony No. 5 - New Philharmonia Orchestra
Ebben? Ne Andro Lontana - Philharmonia Orchestra
Moonlight Sonata - Dame Moura Lympany
Violin Concerto No. 1 In G Minor - Yehudi Menuhin
E Lucevan Le Stelle - Georges Pretre
Nocturne In C Sharp Minor - Maria Tipo
Adagio For Strings - Philadelphia Orchestra
Cello Concerto - English Chamber Orchestra
Piano Concerto No. 2 In F - English Chamber Orchestra
Va Pensiero - Bernard Haitink

Tracks:

Adagio In G Minor - Sir Neville Marriner
The Heart Asks Pleasure First / The Promise - Michael Nyman
Time To Say Goodbye - Orchestra
Goldberg Variations - Maria Tipo
Barcarolle - Elisabeth Schwarzkopf
Piano Concerto No. 2 - Sir Simon Rattle
Nimrod - London Symphony Orchestra
Vissi D'art - Maria Callas
Cavatina - Manuel Barrueco & Steve Morse
String Quintet In C - Laszlo Varga
J'ai Perdu Mon Eurydice - John Eliot Gardiner
Etude In E 'Tristesse' - John Ogdon
Addio Del Passato - London Symphony Orchestra
Double Violin Concerto - Bath Festival Orchestra
Queen Symphony - Royal Philharmonic Orchestra
Piano Concerto No. 1 - Garrick Ohlsson
In Paradisum - English Chamber Orchestra
My Heart Will Go On - Orchestra
Rhapsody In Blue - Andre Previn

Customer Reviews:

a terrific compilation for beginners.......2006-02-07

I agree with P. Grupe-for classical music lovers, it is a let down to listen to cut tracks of well-performed classical greats, like Chopin's 1st piano concerto in this collection. Nonetheless, this is a terrific compilation for people beginning to get interested in classical music. This compilation is an eclectic mix of the familiar (Beethoven's moonlight sonata, Rachmaninov's Rhapsody on a Theme of Paganini variation no. 18, Myer's Cavatina, Barber's "Adagio for Strings, etc.), the contemporary (Michael Nyman's The Promise, Horner's My Heart Will Go On), and the truly moving (Bach's Double Violin Concerto, Bruch's Violin Concerto, Schubert's String Quintet in C)-relatively obscure pieces usually left out in less inspired and mediocre classical music compilations. It is gratifying to see that opera music has not been left out. Get this cd if only for the Maria Callas tracks, Lucia Popp's performance of Strauss' Beim Schlafengehen, and Dame Kiri Te Kanawa's Addio del passato.

"Classical heartbreakers" broke my heart.......2004-06-27

I am an avid listener of classical music, and I purchased this CD expecting to get some of the best classical music ever composed. I guess I expected a bit much though. Although the recording is filled with high quality performances of fantastic pieces, I was disappointed to find that only about half of the pieces are contained in their entirety on this 2-disc set. Songs such as Rhapsody in Blue and Beethoven's Moonlight Sonata were not recorded in full for this album, which caught me off guard and bothered me quite a bit.

Anybody who is unfamiliar with classical music will appreciate this album. Since it features some of the most moving classical pieces ever written, it is sure to entrance listeners. And by not placing entire 10-minute pieces on the CDs, it will not run on and bore those unaccustomed to the length of most classical music. However, if you are already well-versed in classical music and can listen to entire symphonies with ease, I would advise against buying this album. I now feel a desire to go out again and find the full versions of some of these pieces, since I feel I was cheated by only getting introductions or short movements on most of the album. Guess I should have paid a little more attention to what I was buying.

A Fantastic Compilation.......2004-05-01

Most of the musical pieces in this compilation are from versions as they appear in various movies. This is Classical music from classic movies such as: Somewhere in Time, Schindler's List, English Patient, The Piano, Platoon, et al. But make no mistake; the music is what's really worth mentioning here.

The title says it all. It claims to have "the most moving Classical music of all time," and they certainly have a case, as it is chock full of the kind of emotional pieces that can easily bring you to tears. This double CD compilation with 37 passionately beautiful pieces is a steal at $16.99.

If you've ever recorded your favorite songs on to tape, or burned them on to a CD, you'll see that this compilation is exactly what EMI Records has done. It is like a greatest hits, volume 1, of poignant Classical music. Almost all of the musical pieces are classic favorites, though there are a few contemporary ones also.

I found the music on this CD powerful and moving as advertised, and I think that Classical music fans should truly enjoy it. It is well worth the price it's being sold for, and I highly recommend it.

Since there is some missing information as to who the composers and artists are, here they are:

Disk 1

Tchaikovsky - Piano Concerto No. 1 in B Flat Minor Op.23: I. Allegro Non Troppo E Mol; Andre Previn; Horacio Gutierrez; The London Symphony Orchestra

Mascagni - Intermezzo (Cavalleria Rusticana) {Raging Bull}; Riccardo Muti; The Philharmonia Orchestra

Rachmaninov - Rhapsody on a theme of Paganini - Variation #18 {Somewhere in Time}; Cecile Ousset; City of Birmingham Symphony Orchestra; Sir Simon Rattle

Puccini - O Mio Babbino Caro (Gianni Schicchi) {A Room with a View};
Montserrat Caballe; The London Symphony Orchestra; Sir Charles Mackerras

Bach - Viola da Gamba Sonata in G Minor BWV1029 - II. Adagio (Opening) {Truly, Madly, Deeply}; Jordi Savall; Ton Koopman

Richard Strauss - Beim Schlafengehen (Vier Letzte Lieder) {The Hours}; Klaus Tennstedt; London Philharmonic Orchestra; Lucia Popp

Williams - Schindler's List (Theme) {Schlinder's List}; Iain Sutherland; New World Philharmonic; Tasmin Little

Debussy - Clair de Lune {Frankie and Johnnie}; Dame Moura Lympany

Mahler - Symphony No. 5 in C Sharp Minor: IV. Adagietto (Conclusion) {Death in Venice}; New Philharmonia Orchestra; Sir John Barbirolli

Catalani - Ebben? Ne Andrò Lontana (La Wally) {Diva}; Maria Callas; The Philharmonia Orchestra; Tullio Serafin

Beethoven - Piano Sonata No. 14 in C Sharp Minor "Moonlight" Op. 27/2 - I. Adagio S; Dame Moura Lympany

Bruch - Violin Concerto No. 1 in G Minor - II. Adagio (Opening) Sir Yehudi Menuhin; The Philharmonia Orchestra; Walter Susskind

Puccini - E Lucevan le Stelle (Tosca) {The Man Who Cried}; Carlo Bergonzi; Georges Pretre; Orchestre De La Societe` Des Concerts Du Conservatoire

Chopin - Nocturne in C Sharp Minor Op. Posth {The Pianist}; Maria Tipo

Barber - Adagio for Strings {Platoon} Eugene Ormandy; Philadelphia Orchestra

Elgar - Cello Concerto in E Minor Op. 85 - I. Adagio - Moderato (Opening) {Hilary and Jackie}; London Philharmonic Orchestra; Norman Del Mar; Robert Cohen

Shostakovich - Piano Concerto No. 2 in F Op.102 - II. Andante Dmitri Alexeev; English Chamber Orchestra; Jerzy Maksymiuk

Verdi - Va, Pensiero (Chorus of Hebrew Slaves) (Nabucco) {The Godfather, Pt. 3}; Bernard Haitink; Covent Garden Chorus & Orchestra of the Royal Opera House

Disk 2

Albinoni - Adagio in G Minor (Realised Giazotto) [Extract] {Gallipoli}; Academy of St. Martin in the Fields; Sir Neville Marriner

Nyman - Heart Asks Pleasure First/The Promise {The Piano}; Unknown artist

Quarantotto & Sartori - Time to Say Goodbye; David Abel

J.S. Bach - Goldberg Variations - Aria {The English Patient}; Maria Tipo

Offenbach - Barcarolle (Les Contes d'Hoffmann) {Life Is Beautiful}; Choeurs Rene Ducios; Clu; Elisabeth Schwartskopf; Jeannine Collard; Orchestre De La Societe` Des Concerts Du Conservatoire

Rachmaninov - Piano Concerto No. 2 in C Minor - II. Adagio Sostenuto (Opening) {Brief Encounter}; Cecile Ousset; City of Birmingham Symphony Orchestra; Sir Simon Rattle

Elgar - Nimrod ("Enigma" Variations) {Elizabeth}; The London Symphony Orchestra; Sir Adrian Boult

Puccini - Vissi d'Arte (Tosca); Georges Pretre; Maria Callas; Orchestre De La Societe` Des Concerts Du Conservatoire

Myers - Cavatina {The Deer Hunter}; Manuel Barrueco; Steve Morse

Schubert - String Quintet in C D956 - II. Adagio (Opening) {Carrington}; Hungarian Quartet; Laszlo Varga

Gluck - J'Ai Perdu Mon Eurydice (Orphée et Eurydice); Anne Sofie Von Otter; John Eliot Gardiner; Orchestre De L'Opera De Lyon

Chopin - Étude in E "Tristesse" Op.10/3; John Ogden

Verdi - Attendo, Attendo...Addio del Passato (La Traviata); Dame Kiri Te Kanawa; Myung-Whun Chung; The London Symphony Orchestra

Bach - Double Violin Concerto in D Minor BWV 1043 - II. Largo Ma Non Tanto {Children of a Lesser God}; Bath Festial Orchestra; Christian Ferras; Sir Yehudi Menuhin

Kashif - Queen Symphony - III. Adagio {Who Wants to Live Forever - Save Me}; Royal Philharmonic Orchestra; Tolga Kashif

Chopin - Piano Concerto No. 1 in E Minor - II. Romance (Larghetto) (Opening) {The Truman Show}; Garrick Ohlsson; Jerzy Maksymiuk; Polish National Symphony Orchestra

Faure - In Paradisum (Requiem) {The Thin Red Line}; Cambridge Choir of Kings Choir; English Chamber Orchestra; Stephen Cleobury

Horner - My Heart Will Go On {Titanic}; David Abel

Gershwin - Rhapsody in Blue (Conclusion) {Manhattan}; Andre Previn; The London Symphony Orchestra

Goldberg Variations: Aria and 70 Variations Adapted, Arranged and Composed by Uri Caine
Average customer rating:

A different take on the Goldbergs

Bach is chuckling!

Fin-de-siècle masterpiece

Music for babies.

Warning! Avant-Garde art music! Traditionalists turn back!

Goldberg Variations: Aria and 70 Variations Adapted, Arranged and Composed by Uri Caine
Uri Caine Ensemble , Uri Caine , J.S. Bach , and Kettwinger Bach Ensemble
Manufacturer: Winter & Winter
ProductGroup: Music
Binding: Audio CD

Avant Garde & Free Jazz | Jazz | Styles | Music
General | Jazz | Styles | Music
Jazz Fusion | Jazz | Styles | Music
General | Miscellaneous | Styles | Music
General | Classical | Styles | Music
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Diabelli Variations

Wagner E Venezia

ASIN: B00004RGPM
Release Date: 2000-08-15

Tracks:

Aria
Variation 1
Variation 2
The Introitus Variations
The Dig It Variations
Logic's Invention
The Stuttering Variation
Variation 3: Canon At The Unison
The Hot Six Variation
Variation 5 (+8)
Rachmaninoff
The Dr. Jekyll & Mr. Hyde Variation
Vivaldi
Variation For Saxophone & Piano
Variation 4
The Waltz Variation
The Carol Variation
Variation 6: Canon At The 2nd
The Stomp Variation
The Nobody Knows Variation
Canon At The 3rd In 3/4
Variation 7: Gigue
Variation 9: Canon At The 3rd
Variation 10: Fughetta
Variation 11
Variation For Violin & Piano
Variation 12: Canon At The 4th
Variation 13
The Hallelujah Variation
The Verdi Piano Duet Variation
Luther's Nightware Variation
Canon At The 6th In 6/4
The Jaybird Lounge Variation
Variation 14
Variation 15: Canon At The 5th
The Contrapunto Variation
Variation No.1 For Piano Solo
Canon At The 5th In 5/4
The Chorale Variation

Tracks:

Variation 16 (Overture)
Don's Variation
Variation For Vinicius
Olive's Remix
The 'I Poem' Variation
Variation 17
Variation 18: Canon At The 6th
Mozart
Canon At The 7th In 7/4
The Minimal Variation
The Tango Variation
The Boxy Variation
Variation 19
Variation 21: Canon At The 7th
The Wedding March Variation
Variation 22
Variation For Gamba Quartet
Canon At The 4th In 4/4
Variation For Piano Solo No.2
Variation On B-A-C-H
Variation For Cello Solo
Handel
Variation 23
Variation 25
Variation 26
Variation 29
Variation 30 Quodlibet
Variation 30 Quodlibet/The Drinking Party
Logic's Organ Prelude
Uri's Organ Prelude
The Blessings Variation
Aria
The Eternal Variation

Amazon.com's Best of 2000

Pianist Uri Caine has done wonders with the compositions of Gustav Mahler (Urlicht: Primal Light) and Richard Wagner (Wagner e Venezia). Nothing Caine's done, however, reaches the dynamic apex captured in the nearly 160 minutes of music on his Goldberg Variations, one of the best tributes to Bach available outside the realm of straight-ahead classical music. Dozens of musicians and settings, from the Baroque to the bombastic, make this two-CD set an unabated wild ride. --Andrew Bartlett

Amazon.com

Amid the plethora of Bach discs released in 2000 to commemorate the 250th anniversary of the composer's death comes something truly original, groundbreaking even, from New York jazz performer and arranger Uri Caine and his band. Having already explored the music of such composers as Mahler, Wagner, and Schumann, Caine has turned his attention to Bach and the seminal Goldberg Variations. He is, of course, not the first musician to link the improvisatory skills of Baroque musicians with those of jazz players, but the 70-plus tracks on this two-CD release go way beyond mere extemporization. Caine takes Bach's music back in time (with the help of a gamba quartet and lute), into the future (string quartet, tango, minimalism, klezmer, jazz), and to the dawn of the 21st century (ambient dance with DJs Olive and Logic). The keyboard remains central--Caine starts off on fortepiano and goes on to play piano, harpsichord, electronic keyboards, and Hammond organ--as do Baroque forms, such as variation, cannon, quodlibet, and chorale. Caine even finds time to pay homage to a number of other composers; namely, Rachmaninov, Vivaldi, Verdi, Mozart, and Handel. From the serene opening to some of the out-there variations along the way, there is never a dull moment on this beautifully presented release, which will fascinate and entertain many throughout repeated listenings. --Rebecca Agnew

Customer Reviews:

A different take on the Goldbergs.......2007-01-09

Uri Caine presents us with another take on a classical composition, this time singling out JS Bach's Goldberg Variations for the treatment. If you love the Goldbergs as much as I do you will find this funny, touching and also revealing at the same time. It is irreverent whilst being most reverential, paying close heed to the heart of the text. I know some friends find it dificult to listen to all at one sitting but warm yourself with it and to it and you'll not be disappointed.

Bach is chuckling!.......2004-04-07

I recently finished (and reviewed here) a biography of Johann Sebastian Bach which made the point repeatedly that our image of Bach as the stern Cantor of Leipzig is incorrect. The writer points out that before his long (and not very happy) job in Leipzig he had been very interested in less serious forms of music than the church cantatas for which he was mostly known in Leipzig. While in Leipzig itself he led the Collegium Musicum (the forerunner of today's Leipzig Gewandhaus Orchestra) and they met in a coffeehouse known for its conviviality. Further, anyone who listens to his music and who understands the musical conventions of the day can hear the sense of humor Bach brought to his music. This is nowhere more evident than in the Goldberg Variations. Just think of the Quodlibet that ends it - drinking songs and jokes! All this is in service of making the point that Uri Caine's 2+ hour riffs on Bach's Goldberg Variations would probably make the Master smile, even guffaw in places.

I have a friend in Eindhoven, Holland who, like me, is a Goldberg nut. Between us we probably have upwards of fifty versions of the Goldbergs, including versions for organ, string trio, string orchestra; I keep waiting for someone to transcribe it for koto ensemble. But he recently sent me this twofer from the Uri Caine Ensemble. I had known of it and of Uri Caine, but had never heard it. I was not prepared, though, for my reaction. Remembering that Bach had written the Variations for young harpsichordist Johann Theophilus Goldberg to play at night for his notoriously insomniac employer, Count von Keyserlingk (presumably to help him get to sleep), I put the headphones on as I went to bed, thinking I'd give Uri Caine the same opportunity to lull me to sleep. More than two hours later I was still awake, constantly surprised and delighted by the incredible musical imagination Caine has brought to bear on the Variations, and indeed I was vibrating like a violin's E string by the time the second CD had finished. No sleep for the stimulated, I guess you could say.

Others here have written about the various changes Caine brings to the variations, but I'd like to add a few comments. First of all, the basis for most of his variations is the clear-cut harmonic pattern Bach uses in the Aria. In other words, he does not tend to make meta-variations of the individual variations themselves, but sticks to the that G major sarabande harmonic progression of the Aria. Robin Holloway, in his 'Gilded Goldbergs' (which I've also reviewed here) does the opposite; each of his variations is based on the sequence of Bach's own variations. Caine does occasionally pick a specific variation for treatment, but usually not. And indeed, at times he seems more interested in throwing in references to all forms of music since Bach: samba, Gilbert & Sullivan, bossa nova, klezmer, Verdi, other Bach (I heard the St. Anne fugue along the way), Rachmaninov, various kinds of jazz (naturally!), Beethoven piano sonatas, gospel, a Mozart string quartet, viola da gamba music, extended vocal technique (via the oddly fascinating guttural mumblings of that weird guy, David Moss, who was so awful as Prince Orlovsky in the recent DVD of Salzburg's 'Fledermaus'), a clarinettist wailing on 'The Yellow Rose of Texas,' and on and on. He even works in a variation on the notes B-A-C-H. And I've still not even come close to mentioning all the influences.

Two small points of interst. Caine begins simply and calmly with the Aria played on Bach's own Silbermann fortepiano followed by the first variation played by gamba and fortepiano. And he later returns to play (on modern piano, and quite beautifully), absolutely straight, the 'Black Pearl' Variation, surely the emotional heart of the set; in doing so he pays a serene and heartfelt homage to Bach. Thank you, Mr. Caine, for that.

It is all done with absolute aplomb by Caine and his henchmen, erm, musicians. Tongue firmly in cheek, yes, but with terrific musicality and great chops. I cannot imagine anyone - except for those thin-lipped purists who probably aren't going to be exposed this set anyhow - not having a great time with these two CDs. It worked on several levels. It's a great Musicology 101 quiz: 'Spot the Influences.' And it can be dipped into at random (in fact, one way I listened to it was to put my CD changer on 'random'; it made not one whit of difference in my enjoyment). Best of all, it's a great energizer and spirit-lifter (pretty important, I'd say, in these parlous time).

So, for those of you who love to smile, who love Bach's Goldbergs, and who don't mind missing sleep, this one's for you.

2 CDs: total time ca. 156 mins.

Strongly recommended.

Scott Morrison

Fin-de-siècle masterpiece.......2004-01-09

E' passato un certo tempo dall'uscita di quest'ultima fatica di Uri Caine e pochi elementi sono giunti a distoglierci dall'idea che "The Goldberg Variations" sia davvero il disco dell'anno, non tanto per l'impresa in sé, (è comunque eroica, per un giovane jazzista americano, la scelta di affrontare una delle composizioni più geniali della storia della musica), quanto per la capacità di affrontare un grande classico con sguardo lucidamente ironico ma affatto iconoclasta. I puristi storceranno il naso, d'accordo, anche perché identificheranno alcune tracce dissacratorie all'interno del disco, ma ciò che veramente conta è che l'interpretazione di Caine non intende in alcun modo minare le fondamenta del capolavoro bachiano, ma anzi, è volta ad esaltarne i tratti eterogenei e a sviluppare le possibilità di metamorfosi che esso racchiude. Caine esplora le Variazioni Goldberg con lo sguardo del bambino: il mondo di Bach diventa, ai suoi occhi, un paese dei balocchi nel quale è concesso assaggiare, imitare, persino storpiare. Ma si badi bene che, come tutti i bambini che giocano, Caine segue un processo serissimo; nell'infinito gioco dei rimandi ecco allora riproposto (ma in misura più estrema che nel disco dedicato a Mahler) il gusto per lo spiazzamento, pianificato ed imposto attraverso l'alternanza di brani che si rifanno a generi musicali eterogenei: passaggi classici interpretati con austera grazia (le arie d'apertura e chiusura al fortepiano Silbermann e la prima variazione con l'accompagnamento di Vittorio Ghielmi alla viola da gamba), improvvisazioni hard bop ("The Jaybird lunge Variation"), trionfi barocchi (la seconda, terza, sesta e settima variazione), strisce drum'n'bass ("Logic's Invention" e "Logic's Organ Prelude" mixate da Dj Logic), riletture in stile dixieland (la brillante "The Hot Six Variation"), lamenti vocali dilatati all'estremo (la voce di Dean Bowman in "The Dig It Variation"), ballate blues ("The Stomp Variation"), richiami alla musica sacra (la "Introitus Variation" con il coro del Kettwiger Bach Ensemble ed i vocalizzi recitati e disperati di David Moss), elementi free jazz ("Variation for sax and piano" con Greg Osby), idiomi kletzmer ("The Stuttering Variation", "Luther's Nightmare Variation" e soprattutto la "Don's Variation" con un grande solo di Don Byron), sonorità puramente elettroniche (le variazioni 5 [+8], 11 e 23 di Boomish), richiami alla tradizione classica (gli omaggi ai padri in "Rachmaninoff", "Mozart", "Vivaldi", e "Handel"), recitazioni poetiche (l'affascinante "The I Poem Variatrion" con il poeta Sadiq Bey e la 19 con la voce di Tracey Morris), infine echi brasiliani (Vinicius Cantuaria in "Variation for Vinicius") ed argentini ("The Tango Variation" con Joerg Reiter all'accordeon). Insomma, un'alternanza di colpi di scena, un caleidoscopio sonoro che fa di questo disco un serio tentativo di catalogare e mettere a confronto, con atteggiamento enciclopedico, stilemi musicali che saranno alla base della musica dei prossimi anni. Esageriamo? Forse, ma certamente "The Goldberg Variations" è un disco coraggioso, capace di scatenare dibattiti in seno alla critica e, come tale, andrebbe ascoltato con attenzione. Senza dimenticare, ad ulteriore merito di Winter & Winter, una grafica strepitosa, degna delle migliori imprese di Saul Bass.
Arthur Cravan

Music for babies........2002-12-07

The concept behind this CD is full of potential. Unfortunately, Uri Caine's appraoch is simplistic and boring. Putting a jazz piece next to a classical piece might seem clever, but Uri Caine fails to combine the two into something that offers a new perspective. There is nothing musically inventive here, and the pretentious attitude that permeates the whole project is just plain insulting. If you want to hear a truly beautiful, engaging interpretation of classical composition by a modern group, check out Sideshow's "Songs of Charles Ives" CD. For those who want to be fooled into thinking they are listening to creative music, well, there's always Uri Caine.

Warning! Avant-Garde art music! Traditionalists turn back!.......2002-11-25

I have to chuckle at anyone who buys an album with titles like "Dig It Variation," or "Dr. Jekyll and Mr. Hyde Variation" and then complains that Johann has defaced. I have Perahia's Goldbergs for when I want exquisite Bach, and Gould's for when I want, well, whatever it is that Gould did, and I have Caine for something completely different. I actually love his Mahler album more than this Goldbergs treatment (I think the Mahler is one of the best albums of the 1990s). But this one is worthwhile. If you dont' respond positively to the words "Knitting Factory scene" or "Downtown improvisers," move on to one of the literally dozens of interpretations that do not contain "The Jaybird Lounge Variation"--that one you'll only find here.

Average customer rating:

Absolutely awful
Perfect
Acoustic onanism
Very good
Mr. Schiff is not interested in counterpoint...

J.S. Bach: Goldberg Variations
Johann Sebastian Bach , and Andras Schiff
Manufacturer: Ecm Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000094HLA
Release Date: 2003-09-30

Tracks:

Aria
Variatio 1
Variatio 2 A 1 Clav.
Variatio 3
Variatio 4
Variatio 5
Variatio 6
Variatio 7
Variatio 8
Variatio 9
Variatio 10
Variatio 11
Variatio 12
Variatio 13
Variatio 14
Variatio 15
Variatio 16
Variatio 17
Variatio 18
Variatio 19
Variatio 20
Variatio 21
Variatio 22
Variatio 23
Variatio 24
Variatio 25
Variatio 26
Variatio 27
Variatio 28
Variatio 29
Variatio 30
Aria

Customer Reviews:

Absolutely awful.......2005-10-12

This is the biggest pile of gibberish I've ever heard. Would someone please hand this guy a copy of the Gould recording and tell him to go out to the woodshed for 50 years.
It is just not intelligible and void of intelligence. Too many changes in tempi and dynamics brings out all the wrong emphasis. The ill-chosen inflections and terrible phrasing make this a painful listening experience utterly lacking in musicality.
And yes, he over-pedals and clunks along homophonically (erractic and sporadic) burying the counterpoint.

Perfect.......2005-09-26

I am astounded by the negative reviews below. I have listened to many versions of the Goldberg variations, but never any better than this. I don't think I ever will be bored by Schiff's performance here. This live-concert is even better than his 1983-interpretation and I don't think it is possible to improve this one. It is relaxing and stimulating at the same time, a feeling of completeness that never is boring.
Moreover, I have never noticed anything wrong about the sound quality and think we use to blame the sound quality when we don't like the way of playing.
By the modern piano, you will of course not get any historically informed baroque music, but I can easily forget this, by thinking of it as pure piano music, valid by the eternal & boundless reason of Bach's musical thinking. So if the listening doesn't bring me back to Bach's era, it gives me something else, not less valuable. I cannot put this on without imagining something very pure, something white, like clean, new snow, white, firm and soft at the same time.

Acoustic onanism.......2005-06-19

The reviewer who says the pianist has no interest in counterpoint is quite correct. No interest in rhythmic dvelopment, either, and absolutely no interest in the dance forms upon which Bach's instrumental music is based! Unfortunately for Mr. Schiff, counterpoint was EXACTLY what JS Bach was interested in. I'm not a fan of Bach on piano, but at least Gould's grunting and moaning expressed his passion for the music which he struggled to fathom. Get the recording of the Goldberg Variations by Trevor Pinnock, and hear what it means to be interested in counterpoint.

Very good.......2005-03-17

As a pianist, I can say that Schiff delivers a very good performance here. Usually accused of romanticizing Bach, which I agree to sometimes, this has to be his least romantic Bach. CD art is also nice. The sound quality is very good. Very highly recommended.

Mr. Schiff is not interested in counterpoint..........2005-03-15

And it is difficult to enjoy this version of the Goldberg Variations for that reason. Instead of bringing out the lines, Schiff washes them together with the pedal in ungainly harmonic blocks. The microphone is too far away from the piano so this just adds to the misery.

Average customer rating:

Getting Harder to Find

J.S. Bach: The Goldberg Variations
Bach , and Leonhardt
Manufacturer: Vanguard Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00018D5US
Release Date: 2004-03-23

Tracks:

Aria
Variation 1
Variation 2
Variation 3, Canone All' Unisono
Variation 4
Variation 5
Variation 6, Canone Alla Seconda
Variation 7
Variation 8
Variation 9, Canone All Terza
Variation 10
Variation 11
Variation 12, Canone Alla Quarta
Variation 13
Variation 14
Variation 15, Canone All Quinta
Variation 16
Variation 17
Variation 18, Canone Alla Sesta
Variation 19
Variation 20
Variation 21, Canone Alla
Variation 22
Variation 23
Variation 24, Canone All' Ottava
Variation 25
Variation 26
Variation 27, Canone All Nona
Variation 28
Variation 29
Variation 30 Qupdlibet
Aria Da Capo

Customer Reviews:

Getting Harder to Find.......2007-05-09

The execution of Bach's work is technically well performed. What I found amazing was that, even on Amazon, this was one of the ONLY recordings of the Goldberg Variations played on harpsicord. The piece was originally wriiten for the harpsicord, but it seems to be quite in vogue to transcribe his orignial work for various other instruments. I have nothing against that trend, but I would like to see more faithful recordings of the work on the instrument for which it was intended.

J. S. Bach: Goldberg Variations, BWV 988; Italian Concerto, BWV 971; etc.

Average customer rating:

J. S. Bach: Goldberg Variations, BWV 988; Italian Concerto, BWV 971; etc.

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B000BV5RCE
Release Date: 2006-05-16

Average customer rating:

A Goldberg Variations to challenge the best.
A Variation on the Goldberg Variations

Bach: Goldberg Variations
Richard Egarr , and J.S. Bach
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

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ASIN: B000ECXBN2
Release Date: 2006-03-14

Tracks:

Aria
Variatio 1 - A 1 Clav.
Variatio 2
Variatio 3 - Canone All'Unisuono
Variatio 4
Variatio 5 - A 1 Ovvero 2 Clav.
Variatio 6 - Canone Alla Seconda
Variatio 7 - A 1 Ovvero 2 Clav. Al Tempo Di Giga
Variatio 8 - A 2 Clav.
Variatio 9 - Canone Alla Terza
Variatio 10 - Fughetta
Variatio 11 - A 2 Clav.
Variatio 12 - Canone Alla Quarta
Variatio 13 - A 2 Clav.
Variatio 14 - A 2 Clav.
Variatio 15 - Canone Alla Quinta Andante

Tracks:

Variatio 16 - Ouverture
Variatio 17 - A 2 Clav.
Variatio 18 - Canone Alla Sesta
Variatio 19
Variatio 20 - A 2 Clav.
Variatio 21 - Canone Alla Settima
Variatio 22 - Alla Breve
Variatio 23 - A 2 Clav.
Variatio 24 - Canone All'Ottava
Variatio 25 - A 2 Clav., Adagio
Variatio 26 - A 2 Clav.
Variatio 27 - A 2 Clav. - Canone Alla Nona
Variatio 28 - A 2 Clav.
Variatio 29 - A 1 Ovvero 2 Clav.
Variatio 30 - Quodlibet
Aria Da Capo
Canon 1 - Canon Simplex
Canon 2 - All' Roverscio
Canon 3 - Beide Vorigen Canones Zugleich, Motu Recto E Contrario
Canon 4 - Motu Contrario E Recto
Canon 5 - Canon Duplex A 4
Canon 6 - Canon Simplex Uber Besagtes Fundament A 3
Canon 7 - Idem A 3
Canon - Canon Simplex A 3, Il Soggetto In Alto
Canon 9 - Canon In Unisono Post Semifusam A 3
Canon 10 - Alio Modo, Per Syncopationes Et Per Ligaturas A 2
Canon 11 - Canon Duplex Ubers Fundament A 5
Canon 12 - Canon Duplex Uber Besagte Fundamental-Noten A 5
Canon 14 - Canon A 4 Per Augmentationen Et Diminutionen
Canon 13 - Canon Triplex A 6

Customer Reviews:

A Goldberg Variations to challenge the best........2006-10-26

For Johann Sebastian Bach the Goldberg Variations were merely a keyboard "practice-piece". Composed for Johann Gottlieb Theophilus Goldberg to play on the harpsichord, this Bach composition consists of an aria, 32 bars lengh followed by 30 variations, at the end of which the aria is repeated.
However, this work demands the kind of virtuoso skills to strike fear in the heart of any virtuoso performer. Dexterity, speed, lightness of touch, dazzling independent fingerwork, in few words an absolutely and deeply felt musicianship.
English keyboardist Richard Egarr plays an excellent harpsichord ( a copy after Ruckers, Antwerp 1638. ), adjusted to match certain speculation about Bach's preferred system of tuned, the tuning pitch A=409, according to Bach required to obtain " a true cantabile " using in this occasion a seagull feather instead of a piece of plastic to pluck the strings.
Egarr delivers a wholehearted performance, taking the listener to the murky side of this enigmatic work, revealing a distinguised playing inspired completely in Bach the composer, not Egarr the performer.
Bach's music lovers will find additional interest in this recording, for the inclusion of the rare Goldberg Canons BWV 1087 discovered in 1974. This work makes a valuable contribution to the vast Bach's discography.
I have no reservations in recommending this excellent survey, not only for the scholarship, but also for its deeply felt musicianship.

A Variation on the Goldberg Variations.......2006-03-15

Johann Sebastian Bach's 'Goldberg Variations' have been an enduring classic and for good reason. The work is technically demanding, extraordinarily beautiful, and is some of the purest music to come form Bach's fertile mind. The work has long been a challenge to performers, yet despite that fact there are many recordings of the work played on both harpsichord and piano. Some of the giants who have made this ninety some minute work seem like a conversation with the heavens are, of course, Glenn Gould in his various recordings, Murray Peraiha, Alexis Weissenberg, Andras Schiff and Rosalyn Turek...and there are others.

Now there is a new contender for these ranks of great performances in this splendid recording by harpsichordist Richard Egarr. Egarr is a purist and has tuned his instrument in the half tone manner compatible with the method of tuning in Bach's day. He is an immaculate technician, negotiating all of the treacherous variations with utter ease but also finding the sublimely gentle melodies in others. True, with the Goldberg Variations as played on the harpsichord there is not the range of dynamics or even expressiveness that is available to the performer of this work on the much later developed piano or even pianoforte. Those who treasure Gould's definitive performances will miss the poetry, the pedaling, the swooning - and the audible accompanying singing from the keyboardist!

But set aside the piano version of this Bach masterpiece and allow Richard Egarr to transport you back to the time of the creation of the work. It is a mesmerizing experience. Egarr's 2 CD set includes the seldom heard 'Verschiedene Canones (14), for unspecified instruments or keyboard, BWV 1087' which, though a mere 8 minutes in length is yet another otherworldly exploration of Bach.

Many scholars will write prolifically about the response to the particular tuning aspects of the harpsichord used by Richard Egarr, and that will prove an interesting debate. But for the less scientifically audience this recording is a viable, no splendid!, variation of Bach's timeless Goldberg Variations. Highly Recommended. Grady Harp, March 06

Average customer rating:

A sumptuous approach!
Inspiringly Poetic

Bach J.S: Goldberg Variations Bwv 988
Wilhelm Kempff
Manufacturer: Archiv/Universal
ProductGroup: Music
Binding: Audio CD

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ASIN: B000025UFB
Release Date: 1994-03-01

Tracks:

Aria
Variatio 1 A 1 Clav.
Variatio 2 A 1 Clav.
Variatio 3 Canone All'unisono A 1 Clav.
Variatio 4 A 1 Clav.
Variatio 5 A 1 Ovvero 2 Clav.
Variatio 6 Canone Alla Seconda A 1 Clav.
Variatio 7 A 1 Ovvero 2 Clav. Tempo Di Giga
Variatio 8 A 2 Clav.
Variatio 9 Canone Alla Terza A 1 Clav.
Variatio 10 Fughetta A 1 Clav.
Variatio 11 A 2 Clav.
Variatio 12 Canone Alla Quarta (A 1 Clav.)
Variatio 13 A 2 Clav.
Variatio 14 A 2 Clav.
Variatio 15 Canone Alla Quinta A 1 Clav. Andante
Variatio 16 Ouverture A 1 Clav.
Variatio 17 A 2 Clav.
Variatio 18 Canone Alla Sesta A 1 Clav.
Variatio 19 A 1 Clav.
Variatio 20 A 2 Clav.
Variatio 21 Canone Alla Settima (A 1 Clav.)
Variatio 22 A 1 Clav. Alla Breve
Variatio 23 A 2 Clav.
Variatio 24 Cannone Alla Ottava A 1 Clav.
Variatio 25 A 2 Clav. Adagio
Variatio 26 A 2 Clav.
Variatio 27 Canone Alla Nona A 2 Clav.
Variatio 28 A 2 Clav.
Variatio 29 A 1 Ovvero 2 Clav.
Variatio 30 Quodlibet A 1 Clav.
Aria

Customer Reviews:

A sumptuous approach!.......2006-05-23

Wilhelm Kempff magisterial vision, refined style, exquisite phrasing, exceptional cantabiles, and sharp intelligence made an astonishing reading of the Goldberg Variations.

Go for this valuable document.

Inspiringly Poetic.......2004-02-13

One of the best Goldberg Variations.

His Beethoven ( except his violin and cello Sonatas ) may be controversial, his Schumann may be dry or even boring, but never his Bach. This is inspiring and poetic, something you will never get tired of whether it is a sleepless night, or during the day, or while you're working. Those who love Glenn Gould should perhaps lend their ears to him as well, it is quite rewarding. We have a fuller piano sound here and the tone is beautiful too. Sometimes it makes sense to listen to a German playing German music!

Nikolayeva might sound great when you first hear her or even the second or third time, and then you'll probably grow tired. You can forget about Canini or even Weissenberg.

The recorded sound is very good too. Something nice to have: definitely a great human culture. Enjoy!

Track Listings: