The Goldberg Variations was published in 1741, nine years before Bach's
death.  The work is based on a single ground theme (the opening aria which
is repeated after 30 variations of the single theme) which constitutes a
sarabande.  The Goldberg Variations is the most commanding and inspired
set of variations from the baroque period.

How the work came into being is not really known.  The popular story is
that a Count Keyserlingk had many sleepless nights, and that he asked Bach
to compose some pieces good for sleeping that Goldberg could play in an
adjoining room.  Bach decided to go with a set of variations because of the
sameness of the basic harmony, thinking that this sameness might enhance
the Count's sleeping.  But, there is no evidence of this scenario; Goldberg
was only 14 years old at the time, and Bach gave no subsequent indication
that he wrote the work for the Count.  There's has also been some debate
(often vicious in nature) as to who composed the aria to the work.
Regardless of who did what and when, the Goldberg Variations is one of the
best known works that Bach composed and one of the true masterpieces of the
classical music repertoire.

This survey of piano versions of the Goldbergs is prompted by the release
of Angela Hewitt's new recording on Hyperion.  The versions surveyed are:

Rosalyn Tureck I - Philips Great Pianists 456979 - 1957.
Rosalyn Tureck II - DG 459599 - 1999.
Glenn Gould I - Sony 52594 - 1955.
Glenn Gould II- Sony 37779 - 1982.
Evgeni Koroliov - Hanssler 92.112 - 1999.
Peter Serkin - RCA 68188 - 1996.
Konstantin Lifschitz - Denon 78961 - 1994.
Sergey Schipkin - Ongaku 024-107 - 1995.
Maria Yudina - Philips Great Pianists 456994 - 1968.
Maria Tipo - EMI 475465 - 1986.
Andras Schiff - Penguin/Decca 460611 - 1983.
Angela Hewitt - Hyperion 67305 - 1999.

Hewitt faces fierce competition.  The Gould versions are classics, the
Tureck recordings should be classics, and each of the remaining versions
has much to offer.  Of course, Gould makes his usual noises, but they don't
bother me at all.  The sound quality of his 1955 recording is fairly good.
I wish I could say the same for Tureck I, but her sound is relatively
muffled.  Yudina's sound can be fierce.  There will be times when I mention
various feelings and images I have when listening to particular variations;
I want to emphasize that those images come from me, not from Bach (although
I might privately enjoy thinking otherwise).  Also, since list members have
been discussing to a degree the emotional quotient and make-up of the 25th
variation (Black Pearl), I will address that subject when I get to the
Black Pearl.  What I'm most looking forward to is having to differentiate
between many excellent and transcendent performances.

The opening aria timings ranged from 4 to 6 minutes except for both Goulds,
Tipo and Serkin - repeats are the reason.  Significant? I think so.  I see
the aria as a complete piece of music as well as the foundation for the
rest of the work.  Without repeats, the aria becomes more of a "short"
story.  Also, I always get a special sensation when the repeat of the
initial theme begins; it's a magical musical moment for me.  Having said
the above, Serkin delivers an excellent account; it has fine pacing,
possesses much beauty, and is throughly enjoyable.  I just wish there had
been more of it.  Gould I is also excellent as he employs his well-known
precision and faster tempo.  Tipo delivers a very good and fast
performance, skipping the 2nd repeat only; her sound is a little hazy.
Tureck I has the worst sound, but she gives a commanding and very slow
performance; muddy sound and slow pace are not a good combination.  Hewitt,
Schiff, Yudina, Koroliov, and Lifschitz distinguish themselves well.
The only version not of excellent quality comes from Schepkin; his
ornamentations are distracting, not particularly musical, and frequent.
Now to the two special versions:  Tureck II and Gould II.  They have much
in common:  slow pacing, great nuances throughout, a sense at the same time
of precision and spontaneity, and perfect bass lines.  With both versions,
I feel that I'm witnessing the results of a critical analysis of each note.
They provide a full-course meal although Gould offers no seconds.
Outstanding interpretations.

The first variation is a frisky one with a strong bass line.  Tureck I has
a slow pace and is illuminating.  Also excellent and very similar to one
another are Hewitt, Tipo, Koroliov, Lifschitz, and Serkin; each employs a
quick and exciting pace.  Schepkin, Gould I, Yudina, and Schiff are not
very good.  Schepkin has a penchant for trills which I found annoying; he
needs to stop being fussy and cute.  Gould sounds as if he was shot out
of a cannon - super fast and a total lack of poetry.  Yudina encounters a
shrill sound and her speed changes in mid-stream.  Schiff is too soft with
his right hand, too strong with his left hand, and makes a muddle out of
things.  That leaves Tureck II and Gould II again as the best renditions.
Using slower speeds, they transform the music into an all-encompassing
kaleidoscope of notes with a tremendous sense of the counterpoint and
pacing; both hands are in perfect unison.

Counterpoint is also a major factor in the second variation.  This is
beautiful music where the melodies just go off on their own yet always
blend perfectly.  That's not quite what happens with Lifschitz, Schepkin,
Yudina, and Schiff:  Lifschitz is fast and ordinary, Schepkin continues
with the trills, Yudina is inconsistent in pacing, and Schiff is too fussy.
Hewitt and Serkin give excellent performances just a little short of
outstanding; they don't quite display the perfection of the counterpoint
or provide a particularly compelling conception.  I have six versions
which are fantastic.  Gould I flies through the variation with a precision
and artistry which is something to behold.  Gould II gives us a perfect
unison of the counterpoint and an infectious rhythm with a slow pace.
Tipo provides a beautiful dream-like reading in an acoustic to match.
Tureck I adopts the slowest tempo and transforms the variation into one of
reflection and depth; her counterpoint is outstanding and you don't want to
miss how she handles the series of descending notes throughout the piece.
Tureck II is almost as slow as Tureck I and equally as good with the
counterpoint and descending notes; Although not as reflective, Tureck II
has a bounce to it which lifts the spirits.  Koroliov makes the variation
into great "good-time" music which can't help but bring a smile to your
lips; recorded sound is exceptional.  This is exceptional music which is
so adaptable to varying conceptions.

I essentially see the fourth variation as music of serenity although
tinged with some sadness and regret.  This contrast of mood provides much
enjoyment.  A fast pace tends to lessen those qualities; it also lessens
the enjoyment of listening to the consistently interesting bass line as
it interacts with the right hand.  Five versions provide those qualities
in full measure:  Lifschtiz, Serkin, Tureck I, Tureck II, and Hewitt.
Lifschtiz's performance is particularly noteworthy since he does employ
a fast pace.  The remaining versions are good; Schepkin keeps the trills
to a minimum (for him).

Tureck II has hit the bulls-eye every time; her counterpoint, bass
lines, conceptions, flow, etc.  are all wonderful.  Tureck I also appears
relevatory although she has to deal with only fair sound.  Of the two
Goulds, Gould II is displaying a greater command and intimacy of Bach's
idiom.  Hewitt is doing very well, much better than her Inventions
recording.  Yudina is surprising me a little; she likes to vary tempo
within a variation, and I'm starting to feel that she is giving more a
performance of herself than of Bach.  Koroliov, Serkin, and Tipo have been
at Hewitt's level.  Schepkin is exhibiting mannerisms which were not part
of his WTC or Partitas discs.  Lifschitz is showing potential, and Schiff
tends to lose sight of musically beneficial proportions.

Don Satz
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