Est 1923

Bach Goldberg Variations

Record and Artist Details

Composer or Director: Johann Sebastian Bach

Label: Denon

Media Format: CD or Download

Media Runtime: 79

Mastering:

DDD

Catalogue Number: CO-73677

Tracks:

Composition Artist Credit
Goldberg Variations Johann Sebastian Bach, Composer
Huguette Dreyfus, Harpsichord
Johann Sebastian Bach, Composer

Composer or Director: Johann Sebastian Bach

Label: ECM New Series

Media Format: Vinyl

Media Runtime: 0

Mastering:

DDD

Catalogue Number: ECM1395

Tracks:

Composition Artist Credit
Goldberg Variations Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer
Keith Jarrett, Harpsichord

Composer or Director: Johann Sebastian Bach

Label: ECM New Series

Media Format: Cassette

Media Runtime: 0

Mastering:

DDD

Catalogue Number: 839 622-4

Tracks:

Composition Artist Credit
Goldberg Variations Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer
Keith Jarrett, Harpsichord

Composer or Director: Johann Sebastian Bach

Label: ECM New Series

Media Format: CD or Download

Media Runtime: 62

Mastering:

DDD

Catalogue Number: 839 622-2

Tracks:

Composition Artist Credit
Goldberg Variations Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer
Keith Jarrett, Harpsichord
There used to be a problem with the Goldberg Variations: to observe the repeats was impossible on a single LP and to do so, as Karl Richter did resulted in two woefully under-used ones. On CD (or today's LPs) omissions are a matter for the performer's choice and are not enforced. There is a kind of logic in playing only those in variations where first- and second-time bars differ, but Jarrett also plays them in Vars. 2, 21, 29 and 30 where this does not apply. We return, however to the point LS made in reviewing Pinnock's Archiv Produktion set: did Bach intend to lull the Count to sleep, or to make his insomnia rewarding? Jarrett appears to favour the former conclusion. Like Pinnock he plays the Aria very slowly and (unlike Pinnock) this is consistent with his approach to the work as a whole; only the advent of the 96-minute CD could permit him to respect every repeat! The quick variations lack elan and the slowest are stiffened by the absence of expressive rubato, even when the tempos are well judged, as some are. A slow tempo helps to draw the teeth of the mordents in the bass in bars 5–6 in the second half of Var. 5; the buff-stopping of the lower manual diminishes the overall effect of the anguished hammonies in Var. 25 and the persistent splitting of the chords develops into an irritant. After Jarrett's excellent piano recording of Book 1 of the Well-tempered Clavier this is disappointing: his readiness to add ornaments (not only in repeats) and the fleet-footedness of the later variations suggest that he does not lack technical facility, rather his approach may be too ''solemnly portentous'' (as LS put it); what is lacking is a satisfying view of the overall balance and variety of the work, a large entity rather than an assemblage of individual items such as the Well-tempered Clavier.
There is much in common between Ross (EMI) and Dreyfus: both observe every repeat except in the Aria da capo, treat the Aria as a sarabande (see NA's review, 7/89), give faithful accounts of the music without either stiffness or excessive rubato, and are economical in adding 'extras' to the score. It would be hard, indeed invidious, to nominate either as the better; both are of superb quality and are excellently recorded (Dreyfus plays a warmly friendly Hemsch of 1754). Nicholas Anderson described Gilbert's performance on Harmonia Mundi as ''subtly intuitive'', which it is, and this may commend it to many listeners who will be content with Gilbert's explanation as to why he omitted some repeats. If, like me, you want to hear them all, I leave you the choice between Dreyfus and Ross.'

Bach Goldberg Variations

Goldberg Variations

Bach Goldberg Variations

Goldberg Variations

Bach Goldberg Variations

Goldberg Variations

Bach Goldberg Variations

Goldberg Variations

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