I reviewed twelve recordings of Bach's Goldberg Variations a little over a
year ago. Since that time, I've reviewed eighteen additional versions, and
I now have twelve more your consideration. Feeling at this point that the
reviews have become rather fragmented, I have decided to do a round-up of
forty versions. My assumption is that some of my previous conclusions will
change significantly; that's only natural. Will the previous reviews be
superfluous? That's not for me to decide, but this new one will take
precedence in my mind.
To keep administrative matters relatively easy, I'll be rating each
variation and the aria according to the following system which I'm tending
to use more and more when I have a large number of recordings at hand:
Level 1 - Anything less than excellent.
Level 2 - Excellent to outstanding. These are performances which are
memorable and deserve much future playing time.
Level 3 - A magical performance which makes the listening experience
transcendent.
There are two recordings which I previously reviewed that will not be
included now - Labadie on Dorian and Schepkin on Ongaku. Labadie's chamber
group provides two styles of performance: 'Bach goes Hollywood' and a
consort style. I don't have any problems with the consort style, but the
other type which is the more prevalent is one I consider a bad joke with
Labadie at the command station. My overall opinion of Schepkin's Bach
recordings is quite favorable, but the Goldbergs find him indulgent and
willful; his trills particularly drive me up the wall although he has
plenty of other bad tendencies one can't avoid. This is *not* the same
Schepkin whose discs of the Partitas for Harpsichord and Well Tempered
Clavier are very rewarding.
The specifics on the forty versions I am reviewing are:
Luc Beausejour(Hp.) - Analekta Fleurs de Lys 23132 - 1997 - TT 75:50.
Maggie Cole(Hp.) - Virgin Veritas 61555 - 1991 - TT 78:33.
Ekaterina Dershavina(Pf.) - Arte Nova 34011 - 1994 - TT 77:13.
Vladimir Feltsman(Pf.) - MusicMasters 67093 - 1991 - TT 79:32.
Kenneth Gilbert(Hp.) - Harmonia Mundi 1901240 - 1986 - TT 66:46.
Glenn Gould I(Pf.) - Sony 52594 - 1955 - TT 38:40.
Glenn Gould II(Pf.)- Sony 37779 - 1982 - TT 51:14.
Glenn Gould III(Pf.)-CBC 2007 - 1954 - TT 42:30.
Pierre Hantai(Hp.) - Opus 111 3084 - 1992 - TT 77:26.
Angela Hewitt(Pf.) - Hyperion 67305 - 1999 - TT 78:32.
Robert Hill(Hp.) - Music & Arts 850 - 1993 - TT 75:07.
Helga Ingolfsdottir(Hp.) - AC Classics 99074 - 1999 - TT 77:14.
Keith Jarrett(Pf.) - ECM 1395 - 1989 - TT 61:39.
Ton Koopman(Hp.) - Erato 16170 - 1987 - TT 62:22.
Evgeni Koroliov(Pf.)- Hanssler 92112 - 1999 - TT 84:52.
Wanda Landowska I(Hp.)- EMI 67200 - 1933 - TT 46:45.
Wanda Landowska II(Hp.)- RCA 60919 - 1945 - TT 49:08.
Gustav Leonhardt I(Hp.) - Vanguard/Bach Guild 2004 - 1953 - TT 54:19.
Gustav Leonhardt II(Hp.) - Teldec 97994 - 1965 - TT 47:41.
Konstantin Lifschitz(Pf.)- Denon 78961 - 1994 - TT 79:01.
Tatiana Nikolayeva(Pf.) - Hyperion 66589 - 1992 - TT 79:38.
Murray Perahia(Pf.) - Sony 89243 - 2000 - TT 73:28.
Trevor Pinnock(Hp.) - Archiv 415130 - 1980 - TT 60:45.
Karl Richter(Hp.) - Teldec 97904 - 1958 - TT 44:40.
Charles Rosen(Pf.) - Sony 48173 - 1967 - TT 75:50.
Scott Ross(Hp.) - Virgin Veritas 61869 - 1988 - TT 75:44.
Andras Schiff(Pf.) - Decca/Penguin 460611 - 1982 - TT 72:20.
Ragna Schirmer(Pf.) - Berlin Classics 0017162 - 1999 - TT 87:10.
Peter Serkin(Pf.) - RCA 68188 - 1994 - TT 44:30.
Masaaki Suzuki(Hp.) - BIS 819 - 1997 - TT 73:17.
Maria Tipo(Pf.) - EMI 47546 - 1986 - TT 63:42.
Rosalyn Tureck I(Pf.) - Philips 456979 - 1957 - TT 93:40.
Rosalyn Tureck II(Pf.) - DG 459599 - 1998 - TT 91:10.
Rosalyn Tureck III(Pf.)- VAI Audio 1029 - 1988 - TT 74:46.
Rosalyn Tureck IV(Pf.) - VAI Audio 1131 - 1995 - TT 92:38.
Blandine Verlet(Hp.) - Astree 128745 - 1992 - TT 80:30.
Andrei Vieru(Pf.) - Harmonia Mundi 901666 - 1998 - TT 48:50.
Jory Vinikour(Hp.) - Delos 3279 - 2000 - TT 85:39.
Zhu Xiao Mei(Pf.) - Mandala 4950 - 1999 - TT 61:20.
Maria Yudina(Pf.) - Philips 456994 - 1968 - TT 70:55.
I have a few points to make before starting out with the opening aria:
a. I won't be mentioning the observing or skipping of repeats with every
movement/variation. There are a few variations where I much prefer the
observing of repeats, and I will cover them as the review progresses. As
a rule of thumb, when 'total timings' go under 70 minutes, you can assume
that not all repeats are observed. Performances under 50 minutes can be
assumed to skip most, if not all, repeats.
b. The Glenn Gould recording from CBC was made just one year prior to
the first Gould/Sony recording. Yet, some sources tend to dismiss the
CBC effort as superfluous as best. I am not of that opinion in that the
CBC performances sound very good to my ears. What isn't so good is the
recorded sound which breaks now and then; it's nothing ususally terrible,
but both Sony recordings have better sound. I refer to the CBC recording
as Gould III simply because I used Gould I and II for the Sony releases in
my earlier reviews.
c. Concerning the two Tureck/VAI recordings, Tureck III was performed
at the home of William F. Buckley, while Tureck IV was recorded in St.
Petersburg, Russia.
d. The forty recordings for review and the omitted Labadie and Schepkin
issues do not by any means constitute the totality of Goldberg Variations
recordings. There are a few other recordings which I would have liked to
offer for review, but they were not high priority in my mind for
acqusition.
The one recording I very much regret not having is a new one from Celine
Frisch on a French label which is, to my knowledge, not available in the
United States. So I'll get hold of it at a later date for a singular
review; I have found Ms. Frisch to be exceptional in her Bach recital disc
for Harmonia Mundi and her harpsichord role in the Viola da gamba Sonatas
on the same label.
Opening Aria - This is fantastic music to begin the work: so tender,
poignant, and comforting. Yet, there is also an underlying tension and
melancholy which blends beautifully into the music's fabric. A great
performance has to convey these contrasting elements. With the aria, I
want the repeats observed, particularly that of the first theme. Without
the first theme repeat, I always feel a little cheated when the second
theme begins.
Level 1 - Most of the versions at this level do well with conveying
tenderness and optimism but come up a little short on sadness and
tension; the result is less than excellent contrast. Hantai, Jarrett,
Ingolfsdottir, Beausejour, Koopman, Koroliov, Lifschitz, Nikolayeva, both
Landowska issues, and both Leonhardt recordings fall into this category.
Vinikour has the opposite problem; his reading exudes little optimism or
tenderness.
Gould I is a little too quick for my tastes, and Gould III suffers from
some fierce sound. Schirmer's version is lovely, but her very slow pace
involves some loss of momentum. Feltsman's first theme repeat is a mess
as he immediately goes to a much higher register with a jarring and glassy
sound. Projection which I find too soft hinders the readings from Hewitt,
Perahia, Tipo, and Schiff. Verlet is too fast and delivers an angular
reading which borders on being choppy. Xiao Mei's undercurrent of tension
is slight, and Yudina's left hand displays little incisiveness or
projection - it's a weak second cousin to her lively right hand.
Level 2 - Gilbert, Dershavina, Richter, Pinnock, Rosen, Serkin, Suzuki,
Vieru, Gould II, Hill, Ross, and Tureck I are great performances. In each
one, tenderness and comfort are blended beautifully with undercurrents of
tension and sadness. Concerning Dershavina, I wasn't very impressed with
her aria when I first reviewed her recording, but it's sounding better all
the time. She has the requisite emotional elements in superb position.
For a gorgeous version of the aria, Peter Serkin can't be beat and his
piano sound is really exceptional. The only major difference that Tureck
I has with the more recent Tureck versions is that it's about a minute
slower. Although a commanding performance, the extremely slow tempo is
not as fetching as the other three.
Level 3 - Rosalyn Tureck dominates with her DG version and both VAI
performances. They are so similar to one another that the recorded sound
is the easiest way to tell them apart. The DG sound is excellent for the
studio, the one in Buckley's home (Tureck III) has a bass strength that's
a little too much, and the St. Petersburg sound is crisp and airy. I
might slightly prefer the St. Petersburg version, but each of the three is
magical. The tempos(very similar)always sound perfect as if Bach wrote the
music for Tureck. Her accenting, rhythmic flow, trills, superb interplay,
and the complete command of the aria are on full display in each version.
These are relatively serious interpretations, but there is no sacrifice of
comfort and tenderness. Tureck has a multi-layered story to tell, and it's
an enlightening experience being on the listening end.
Maggie Cole is the other artist who is transcencent in the Aria. Much of
what I said about the three Tureck versions applies to Cole's performance
as well. I would just add that Cole's right hand provides some weeping
notes which are very effective, and that her harpsichord sounds exceptional
with both high and low ends simply gorgeous. This is an instrument to
luxuriate in.
1st Variation - Most performances are fast, exciting, and exuberant.
They're fine for what they are, but this music has even more to offer;
a great version discovers some of those additional elements. I'm
particularly fond of the cascading series of notes toward the end of
the first theme.
Level 1 - The 'fast-exciting-not much more' category includes Hewitt,
Rosen, Xiao Mei, Ingolfsdottir, Koopman, and Suzuki. Gould I is the
extreme in this category with a lightning fast performance. Nikolayeva
indulges in some extreme volumes, and Tipo disrupts the music's flow.
Schiff comes up with a bunch of pesty trills and also manages to reduce the
fluidity of the reading even though he's strongly legato. Feltsman, at the
beginning of both repeats, goes overboard with the strength and emoting
from the bass line. Tureck IV, unlike her earlier efforts, is quite
forceful and gives the music an angry element which I don't appreciate:
St. Petersburg didn't get her best on that evening.
Vinikour and Dershavina have distinctive and bubbly first themes but sound
ordinary in their second themes. Cole, Gould III, Verlet, Serkin, Hantai,
Schirmer, Jarrett, and Hill give fine versions lacking the nuances of the
best performances. Lifschitz is very rewarding except he does little with
the cascading notes in the first theme - poor projection and insufficient
nuance. Perahia, as with the Aria, has his moments of soft projection when
I least want them. Yudina breezes along very well until she speeds up with
the beginning of the first theme repeat; it's amusing but not very musical.
Level 2: Performances at this high quality possess greater emotional
intensity and breadth than those at the lower level. They also tend to
be more detailed and revealing of the music's architecture. The versions
at this level come from Landowska/EMI, Koroliov, Richter, Pinnock, Ross,
Vieru, Gilbert, Beausejour, Leonhardt I, Gould II, and Tureck III.
Landowska's performance is wonderful but suffers in comparison to her RCA
effort due to recessed sound. Leonhardt's Vanguard effort is an x-ray
examination of the music, but his Teldec performance is quite similar and
in more up-to-date sound. Tureck performs excellently at Buckley's home,
but her tempo is quick and not as effective as in her Philips and DG
issues.
Level 3 - Leonhardt/Teldec, Tureck I & 2, and Landowska(RCA). As I
indicated earlier, Leonhardt is supreme in conveying the architecture
without any loss of poetry. Both Tureck versions are into examination
with an infectious rhythm. In both themes, Landowska begins in a delicate
and stark manner; then she envelops the soundstage with a much fuller use
of her instrument. I find the contrast wonderful and illuminating. One
aspect common to these four versions is the way they stretch the boundaries
of the cascading passages in the first theme and convey heightened
emotional depth. Another thing in common is that each performance is on
the slow side; that's my preference as I feel that sufficient time is in
place to allow the artist to convey the details of the work.
2nd Variation: Melody lines go off in all directions and seem to be
entirely on their own; yet, there is perfect unison of the voices.
This Variation is a gorgeous one which makes me think of a journey to
fulfillment.
Level 1 - This level includes fine performances which are simply
overshadowed by many others. The 2nd variations from Schirmer, Pinnock,
Beausejour, Cole, Ross, Hill, Gilbert, Jarrett, Verlet, Xiao Mei, Richter,
Leonhardt II, Hantai, Lifschitz, and Ingolfsdottir are good examples; the
readings are very enjoyable but miss the high level of expressiveness
and/or creativity of the best versions. Nikolayeva isn't very good; I
never sense that she really knows what she wants to do with the music and
ends up being quite eclectic for no purpose I can fathom. Hewitt's fairly
good, but she continues with soft projection and musical conception which
sounds rather alien. Vieru is much too demonstrative for my tastes;
Gould(82) gives a commanding performance while Vieru's is somewhat
combative. There's quite a difference.
Vinikour, Suzuki, and Koopman are a little choppy in the 2nd Variation with
damaged flow. Perahia's version is a case of at least one trill too many,
and Gould III gives a fine performance but with instrusive sound. Schiff
and Yudina bring us some abrupt changes in tempo. Dershavina gives up some
expressiveness for speed. Although I was relatively pleased with the sound
for Landowska/RCA in the 1st Variation, her instrument sounds rather
unpleasant and sour in the 2nd Variation. As with the Aria, Feltsman takes
the higher register route, but this time in the repeat of the second theme;
the results are no more pleasing than in the Aria.
Level 2 - Gould I is super-fast and a thrill; this time, no poetry is lost
and his accenting is fanatstic. Landowska/EMI is on the slow side, highly
poetic, and exacting; the combinations are illuminating. Serkin has a
quick and great walking gait from the bass line that's unique to my ears
and very plesureable.
Level 3 - Tureck/DG is pure magic. The performance is very slow with
every note having significance; I get the feeling that I'm listening to
full story with diverse and deep emotional themes. Tureck's left hand
trills are a delight which I've never really heard in any other version.
Sound Report: The most recent issue of Fanfare Magazine finds the Editor
stating that record reviews do not pay enough attention to recorded sound
quality. I don't necessarily agree with that opinion, but I should provide
some comments about the sound of the Goldberg Variations recordings I am
reviewing. I've already mentioned some sound aspects of the four Tureck
recordings. Her DG and St. Petersburg recordings have the better sound; the
Philips issue is not modern sound but sufficient, and the VAI in Buckley's
home has an overly strong bass response.
The Gould/CBC issue has some intrusive distortion, the earlier Gould/Sony
issue is not problematic, and the Gould '82' recording is quite fine. Of
Leonhardt's two recordings, the Teldec is much better than the Vanguard.
Concerning Landowska's two recordings, the EMI gives us recessed sound
while the RCA is up-front and personal; both have fair sound properties
which don't often interfere with the performances.
Among the remaining piano versions, Koroliov's set has the best soundstage
- crisp, rich, and vibrant. Feltsman's sound tends to be glassy towards
the upper registers, Yudina's sound is rather raw, Nikolayeva's is not
quite state of the art, Tipo's tends to have a haze over it, and Vieru's
has a 'ping' on the higher notes. The other piano recordings have
excellent sound.
For the remaining harpsichord recordings, only Richter's and
Ingolfsdottir's sound have any problems. Richter's 1958 sound is fairly
good, but don't expect it to enhance the performances. Ingolfsdottir's
sound presents a strange situation. In my car, the sound is fantastic with
clarity, richness, and detail. However, on my best equipment, the sound is
rather oppressive and overly resonant; with headphones, the sound problem
is most pronounced.
Overall, I do want to assure readers that none of the recordings has sound
which regularly inhibits enjoyment of the performances. However, those who
insist on good/modern sound would be well advised to stay away from
recordings from the 1950's or earlier.
Don Satz
|
