Johann Sebastian Bach (1685-1750)
Goldberg Variations, BWV 988 [70:51]
Encore: "Jesu bleibet meine Freude" from Cantata BWV 147 [3:36]

Tatiana Nikolayeva, piano
Recorded Live at Royal Academy of Music, Aarhus, Denmark, April 1983
Released November 2004
CLASSICO CLASSCD 416 [74:27]

Goldberg Variations Comparison: Nikolayeva/Hyperion (rec. 1992 - 79:38)

Performer: Tatiana Nikolayeva (1924-1993) is one of the great Russian
pianists of the 20th century.  Highly regarded for her Bach and Beethoven,
her crowning achievement on record is her three recordings of the
Shostakovich Op.  87 Preludes and Fugues.  Nikolayeva is definitive in
this repertoire, no doubt helped by her friendship with Shostakovich and
the fact that she was the champion for getting the Soviet authorities
to allow publication of Op.  87 by actually playing the music for those
undeserving but lucky bureaucrats.

Genesis of Recording: Nikolayeva was holding master classes in April
1983 at the Royal Academy of Music in Aarhus.  On the last work day, she
gave a concert of Bach's Goldberg Variations and an encore from BWV 147.
Although the concert was taped, copyright and other issues would not
allow that a recording be made for distribution.  Eventually, Sergei
Senkov, a Nikolayeva student, tracked down her son and secured the
permission to make the performance available to the public.  I have no
idea how CLASSICO ended up releasing the disc, but it is certainly is a
feather in the company's hat.

1983 vs.  1992: With the release of the 1983 live performance, the 1992
Hyperion disc can be safely retired.  The fact is that Nikolayeva's
technical prowess was in decline by 1992, and she definitely sounds
challenged in the fastest variations.  Further, she is more vibrant in
the live performance, and her frequent changes in tempo and dynamics
have a more natural flow than on the Hyperion where they sound slightly
contrived with a choppy demeanor.  Concerning sound quality, the Classico
sound is more open although there is a brittle element to notes from the
upper voices.  So, let's just put the Hyperion to rest with a three-gun
salute.

Other Performance Characteristics: The dominant trait of the
interpretation is 'insistence'.  Nikolayeva rarely relaxes, always
at the ready to pounce on notes and phrases.  Some might feel that she
hectors her listeners, but this reviewer feels that the insistence is
delivered in a compelling fashion and represents an overall advantage
for the performances.  As for repeats, Nikolayeva observes most of them.

Specific Variations: Nikolayeva does begin with a very comforting and
warm Aria, one of the best on record.  I suggest listeners luxuriate in
the security, because there isn't much more of it as the performance
progresses.

The insistent and pointed articulation of Nikolayeva's interpretive
stance is most noticeable in Variations 4, 8, 12, 27, 29, and 30.  In
Variation 8, it sounds as if steam is coming out of her ears and nostrils.
Nikolayeva is a woman who doesn't take 'no' for an answer, conveying an
inner strength equal to any other versions on the market.

Variation 6 is outstanding as Nikolayeva aligns her regiment of changing
tempo and dynamics with with the up-down rhythmic flow from both upper
and lower voices.  As for exuberance, just listen to her playing of the
first three Variations; the high energy figuratively leaps out of the
speakers.

The emotion of despair is also superbly caught by Nikolayeva in Variations
15, 21, and 25.  It is almost painful to listen to, and No.  25 (Black
Pearl) conveys a 'black hole' where all hope is crushed.

Don's Conclusions: Certainly one of the better versions of the Goldberg
Variations to be found.  As I mentioned earlier, some listeners might
feel hammered by Nikolayeva, but nobody will leave unaffected by her
highly individualized readings.  Of course, there are many other exceptional
piano versions including three from Glenn Gould on Sony, two from Rosalyn
Tureck on Deutsche Grammophon and Philips respectively, and single efforts
from Andras Schiff on ECM and Charles Rosen on Sony; I do recommend
passing on the earlier Schiff version on Decca.  With many additional
superb accounts on harpsichord, we are in a golden age concerning the
greatest variation work in the illustrious history of classical music.
Do not delay - acquire some of these sensational recordings.

Don Satz
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