Late Arrivals!!! - Generally, I don't add any versions to a review project
once I've started. However, a fine gentleman was kind enough to send me
two additional harpsichord recordings of the Goldberg Variations, and I've
decided to include them in this round-up:
Alan Curtis - EMI 63062 - Recorded 1976 - TT 76:10
Fernando Valenti - Sine Non Qua 79045 - Recorded 1983 - TT 45:58
Concerning Mr. Curtis, his Aria is very nice; both repeats are observed,
and the playing is angular. Still, many other versions give the Aria
greater tension and sadness(level 1). In the 1st Variation, there's great
bounce and joy(level 2). For the 2nd variation, Curtis displays much
subtle expressiveness(level 2).
Fernando Valenti is quite slow in the Aria with a wonderful degree of
comfort, sadness, and tension(level 2); he does skip both repeats. Valenti
provides to the 1st Variation the bounce and joy lacking in the Curtis
reading(level 2). Valenti's 2nd Variation is a good one but lacking
distinction(level 1).
3rd Variation - Although this variation conveys much serenity, I always get
the feeling that Bach is on the cusp of 'busting out'. The anticipation of
it is exhilarating. Another great feature of the piece is its bass line
and the interplay with the right hand. Also, there's an undercurrent of
sadness to the music which is well conveyed in any excellent performance.
Level 1 - Beausejour's bass line is rather ugly and not well-defined; that
just about kills his performance. Pinnock, Cole, Hantai, and Vinikour are
fast but not exciting; they also miss some of the nuances. Tureck IV gives
the audience in St. Petersburg a relatively soft bass-line. Xaio Mei is
the opposite of elegant in the first theme; she's actually tough and gruff.
Dershavina doesn't sound to be of one mind concerning the music; must be
a case of multiple personality or willfulness. Vieru is nonchalant one
moment, highly expressive the next; the first half of the initial theme is
as bland as it gets. Gilbert's performance is quick and rather exciting;
however, it's very busy and not well detailed.
Ingolfsdottir's reading has hardly a trace of sadness and is rather
bland; her sound is also cavernous. Gould II is a surprisingly subdued
performance which leaves me flat. Landowska/EMI has an exciting second
theme, but the first theme sounds increasingly rushed. I used to think so
highly of the fast Leifschitz version, but then Perahia came along and made
Leifschitz sound undernourished with only adequate accenting. Schiff's
bass line is erratic and seems to not be in unison with his right hand.
Koopman lacks some emotional depth particularly in the second theme, and
Rosen uses a halting tempo which I feel damages the music's flow. The bass
line in Tureck III's performance is too strong even though the overall
reading is quite delicate and even precious.
I rarely mention the length of pauses between themes, but the one between
the first theme and its repeat is excessive from Nikolayeva. In addition,
she also is on the precious side. Koroliov, Gould I, and Suzuki give me
plenty of strength and vitality without any excitement or significant
emotional tie-in. While listening to Hill, I kept hoping that he would
really come to life but it didn't happen; switch to Scott Ross for a
reading with stature. Although Feltsman has an active and staccato left
hand, his right hand expression is low in the first theme; to top it off,
the 'higher register' man is at it again. Tipo gives another dream-like
performance which doesn't caputure me this time; I don't want a haze over
this variation. Involvement is on the low end from Keith Jarrett in his
slow and ho-hum reading.
Level 2 - Ross, Richter, Valenti, Curtis, and Leonhardt II give exciting
and expressive readings. Yudina's not only exciting, she wants to do
battle; it's a very interesting and rewarding issue. Peter Serkin uses
a slow tempo to reveal a rich and diversified variation. Tureck I likely
would have been at the top level except that the sound is not kind to her
highest notes which are a little piercing and distracting.
Level 3 - Leonhardt I, Landowska/RCA, Perahia, Hewitt, Verlet, Schirmer,
Tureck/DG, and Gould III. What most impresses me about both Leonhardt and
Landowska is their command over structure; it's as if they were injected
with Bach's DNA. Gould's is the most tender version I've ever heard, and
Hewitt's bass line and the diversity she applies to the music is a 'must'
listening experience; she gives us sighing notes in the first repeat and
mixes/alternates staccato and legato elements superbly. Perahia's the one
who is 'busting out' with a fast and thrilling performance, and he does
this without any sacrifice of emotional investment.
Blandine Verlet brings many great attributes to the 3rd Variation; the
one I like best is the greater sadness she conveys than any other version.
Verlet's sighing notes in the first theme are of the bashful variety and it
works beautifully. Speaking of beauty, I have to sometimes give big points
to an absolutely beautiful interpretation, and Schirmer earns the points.
Her poetry is terrific and nothing ever sounds forced. Tureck/DG concludes
the large numbers at the top. She's in command, accenting is exceptional,
and the reading has abundant depth. But I love best her elegance which
shines through from start to finish.
4th Variation - Exhilarating and heroic music with a great swagger and
bounce. The first level finds Gould III whose performance is very good but
with very intrusive sound. Better recorded performances with good energy
come from a host of others: Feltsman, Vinikour, Nikolayeva, Ingolfsdottir,
Leonhardt II, Suzuki, Cole, Beausejour, Jarrett, Schiff, Koopman, Ross,
Verlet, Dershavina, Koroliov, Gould I & II, Perahia, Rosen, Lifschitz,
Hantai, Xiao Mei, Hill, Serkin, Vieru, Yudina, and both Landowska versions.
Valenti's version tends to sound like a slow-motion account with reduced
voltage.
Level 2 - Tipo, Schirmer, Pinnock, Curtis, Leonhardt, Richter, Hewitt,
Gilbert, and the Turecks except for the DG version. These ten versions
possess the exhilaration and bounce of the better level 1 versions but
surpass them for also giving the listener an irresistable up-down movement
of grace and strength.
Level 3 - This only leaves the Tureck version on Deutsche Grammophon.
Could it be the CD-pluscore with its inviting cursor which weaves its
way through the music? Nah, I wouldn't fall for that trick although it is
mesmerizing to watch. Tureck's DG performance is the best of all because
it's my idea of perfection: pacing, accenting, emotional depth, great
bounce for the slow tempo, fantastic sound, and an up-down motion to kill
for. Right after this sentence I'm going back to that bewitching cursor.
5th Variation - Vitality and joy highlight this variation. With some
exceptions, I prefer slower versions which bring out more detail and still
possess a high level of energy and joy.
Level 1 - Koopman, Hill, Hantai, Suzuki, Vinikour, Landowska/EMI,
Leonhardt I, Gilbert, Koroliov, Rosen, Dershavina, Hewitt, Lifschitz,
Perahia, Feltsman, Schirmer, Xiao Mei, Serkin, and Valenti give fine
performances having much vitality and joy. However, none of them delivers
great detail and other versions offer more joy as well. The three Gould
versions are speed merchants more concerned with vitality than any
satisfaction or joy; if pressed, I'd go with Gould I on Sony. Schiff and
Nikolayeva take relatively hushed approaches which I find overly precious.
Tipo uses a very fast tempo and has trouble negotiating the second theme;
she doesn't repeat it, and that's just as well.
Level 2- Maggie Cole is very fast and exuberant; given her tempo, the
display of detail is superb. Beausejour, Richter, Curtis, Pinnock,
Jarrett, and Ingolfsdottir give slower performances with an excellent
mix of joy and detail. Also at this level are Landowska/RCA and
Leonhardt/Teldec which benefit from being a little slower paced and
greater detailed than their earlier versions. Tureck I would have been
at the top level except for a very subdued beginning to the second theme
and its repeat. Tureck III and IV have to deal with some glassy sound from
higher notes which I find distracting. Yudina and Vieru are fast with
great propulsion; Yudina does apply the brakes at the end of the second
theme, but I still love that propulsion.
Level 3 - Three of the slower versions dominate the top: Tureck/DG, Scott
Ross, and Blandine Verlet. Although much slower than the norm, these
readings fully deliver the music's vitality and joy. In addition, they
bring out all the wonderful detail of Bach's creation. So far, I've had
Tureck/DG at the top level throughout with fantastic interpretations and
superb sound quality.
6th Variation - This variation provides a kaleidoscope of colors as it
smoothly winds up and down. This all-encompassing kaleidoscope is greatly
enhanced by a strong left hand projection as long as it is not oppressive.
I don't think there's any place for drama or aggressiveness in the
variation, although a sufficient spark of life is needed.
Level 1 - The Landowska/RCA left hand doesn't come through expressively
and has no significant presence to it. Yudina is too aggressive. Tureck
I is too slow and sedate; she needs more life. Although not quite as slow,
Tureck III also isn't sufficiently animated. Vieru is too dramatic. I
hear Gould I as running in spurts with damage to flow and continuity.
Leonhardt I and Tureck II & IV are too slow and sedentary. Vinikour skims
the music's surface. Koroliov can be too dramatic and he uses a left hand
staccato in the second theme which I find jerky.
Xiao Mei is as seamless as can be and quite lovely, but I find her too
demure as if she's unwilling to put any stamp of her own on the piece.
Suzuki is a case of at least one too many pesky hesitations. Tipo's
version was once one of my favorites; in current times, I find it reminds
me of a 'glue' product. Tipo goes way beyond 'seamless' into the area
of 'can't be separated'. Feltsman is back to the "highest register on
repeats" phase of his life; other than that, the performance is excellent.
Nikolayeva goes through a series of starts-stops, and she also is overly
dramatic in the second theme.
Level 2 - These harpsichord versions have the all-encompassing
kaleidoscope of colors and provide much joy and comfort: Leonhardt II,
Curtis, Landowska I, Cole, Hantai, Hill, Ingolfsdottir, Koopman, Richter,
Verlet, and Valenti. Gorgeous piano performances come from Serkin,
Perahia, Hewitt, and Gould III. Rosen, Dershavina, and Lifschitz provide
an irresistible insistence from start to finish; their bass lines really
punch out the music. Gould II is lightning fast and manages to retain the
music's poetry.
Level 3 - I find each version at this level to be spiritually uplifting.
The exceptional harpsichord performances are from Scott Ross, Kenneth
Gilbert, Luc Beausejour, Trevor Pinnock, and Keith Jarrett; they all have
an encompassing bass line with a 'churning' motion as if an eerie brew
is being mixed. Also, each has stunning ascending passages toward the
conclusion of the second theme. On piano, Ragnar Schirmer delivers a
mesmerizing bass line which is the best of any piano version. Although
there are a few versions of the forty-two which entail a wide breadth of
dynamics and tempo, the Andras Schiff interpretation is the only one of
them which totally gains my affection. He varies his regimen at just the
right moments with a reading which is likely the most durable for repeated
listening.
Update: Tureck/DG remains first in my estimation, but there are a
few harpsichord versions which are not far behind: Leonhardt/Vanguard,
Landowska/RCA, Richter, Ross, Curtis, Leonhardt/Teldec, Pinnock, Verlet,
and Gilbert. At the other end, the Vinikour and Xiao Mei versions have
been the least attractive issues which is not to say that they have little
to offer. Of course, there's a long way to go, and the variations tend to
become more complicated and provide greater depth as the work progresses.
Don Satz
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