Karl Miller writes of Bach's Goldberg Variations:

>Do you know what it is that attracts you this piece?

Although Karl asked this question of Scott Morrison, I'd like to add my
opinion.  For me, the Goldbergs can be seen as both a series of miniature
masterpieces and a coherent entity that encompasses a wide variety of
musical styles and emotional foundations.  I am always amazed at how far
Bach travels from the initial aria.

>Do you have favorite performances?

On Piano -  Gould (55/59/81), Tureck (DG), Schiff (ECM)
Harpsichord - Hantai/Mirare, Gilbert/HM, Rousset/Decca, Ross/Virgin Classics,
Leonhardt/DHM and Teldec

Concerning the new version on Telarc from Simone Dinnerstein, I'm a long
way from having a definitive conclusion.  Mainly, that's because her
version appears to be one of the most interesting I've encountered in
recent years.  At times, she seems to favor a dream-like environment;
at others, her virtuosity is really astounding, and it isn't done to put
on a show.  Also, she's one of the few pianists to extensively use
hesitations as a consistent element in her rhythmic progressions.  I
remember reading a review that put Dinnerstein's account on the same
plateau as Gould's.  I don't know if I'll end up feeling that way, but
it is a distinct possibility.  So far, those hesitations keep luring me
into her den.

Don Satz
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