The fourth variation is exuberant music which is well suited to the fast
pace of Gould I.  Lifschitz is a little slower but fully captures the joy
of the music.  Tipo has an infectious beat with moderate pace.  Both
Turecks are slow paced but they have just the right bounce.  The remaining
versions are fine - just a little short of excellent.

On the surface, it would be reasonable to think of the fifth variation as
music that needs to be performed fast and strong.  Many of the versions do
just that, and except for one, all of them sound very similar when played
consecutively.  These versions, fast or otherwise, are good but ultimately
interchangegable.  Tureck II is the exception.  Her pacing, although
relatively slow, has great forward momentum.  Also, her chord progressions
just strike me as perfect.  Tureck makes the variation more than just a
vehicle for exhilarating fun.  She brings out every ounce of intricacy.

The sixth variation has great counterpoint and poetry, but both Goulds and
Yudina play it for power and speed.  Although I don't care for that choice,
the Goulds do it well.  Yudina has poor sound for the higher notes and also
is unidiomatic.  The remaining versions do well with the counterpoint and
poetry, but Tipo and Hewitt are special.  Tipo gives another dream-like
reading and it takes me to other lands.  Hewitt is commanding with the
counterpoint and the conversations between the melodies are exquisite.

The seventh variation can easily sound like happy-go-lucky music.  But
four versions take it further than that by injecting some harmonic tension
which heightens the impact on the listener: both Goulds, Hewitt, and
Yudina who eschews her bad habits displayed in earlier variations.  The
remaining versions are good with that happy approach except for Tureck II;
for some reason which I can't explain, she becomes fussy, throws in useless
trills, varies volume frequently, and sounds like Schiff at his worst.

The eighth variation is generally played in a fast and powerful manner
with a little poetry thrown in; speeds (assuming repeats) range from 1.5
to 2 minutes.  Tureck I and Hewitt, in the 2 minute range, provide a great
deal of poetry and superb pacing.  The other versions are not quite as good
with the exception of Tureck II.  She spreads the variation out to about
2.5 minutes and transforms it into a four-course dinner.  Her accents are
incisive and delicious, the counterpoint is stunning, and I don't think a
better interpretation is possible (until tomorrow).  This variation is a
good example of what happens when a very short piece is played super fast
without repeats (Gould I) - it's over before you have a chance to adjust
the audio controls.

Variation 9 is a bitter-sweet piece which Bach typically does so well.
Two very slow paced versions, Tureck I and Tipo are my favorites.  Tureck
slows down the proceedings and inspects every note - sort of a quality
control check.  Tipo delivers a dreamy performance which I always get lost
in.  Leaving Yudina aside, the other versions are very good.  Yudina's
problem is a fierce sound which had me wincing on the higher notes.  Her
interpetation is fine, but that sound does get in the way.

The 10th variation is a rousing fugue with some humorous elements.
I don't care for humor in music and that might factor into my opinion
that this variation is below Bach's customary inspiration.  But, most
of the versions were enjoyable - Schiff, Schepkin, and Koroliov were not.
Whenever it seems that Schiff finally has some momentum building, he slams
on the brakes and fools around with trivial pursuits.  Schepkin *adds*
humor through a few trills (very annoying).  Koroliov, when starting the
first repeat, plays the bass line much too loudly; it was like getting a
wake-up call when you're sound asleep.  I saved both Turecks and Gould II
for last, hoping that one of them would transcend the mundane, but it
didn't happen.

Variation 11, a piece of joy and playfulness, had me nodding in approval on
every version.  It's a tough call, but I place Gould II, Serkin, and Schiff
at the front.  Gould has a great pace and fine clarity.  Both Schiff and
Serkin give beautiful readings.  I haven't said much about Serkin so far.
He tends to be in the middle of the pack with highly melodic and poetic
readings.  Rarely does he make any major mistakes of interpretation, and he
just as rarely transcends the other versions.  His lack of repeats has at
times been a deficiency when a sense of continuity has been lost or just
the fact that some great music isn't there.  Leaving aside the repeats,
he's giving us "safe" performances - sure to please and not offend anyone.

Don Satz