Customer Reviews

Bach: The Goldberg Variations

5 star:		(66)
4 star:		(3)
3 star:		(6)
2 star:		(4)
1 star:		(7)

 

 

Glenn Gould had recorded two Goldbergs prior to this release: a digital effort from 1955 and a live Salzburg performance in 1959. Both are stunning, bursting with wit and vivacity - but there is something about his testamentary final version (finished just before his premature death, aged 50) that defeats not only his own efforts but those of every other pianist too. Gould himself was an odd fish, to say the least - he never slept (the Goldbergs were written by Bach for the insomniac Goldberg), ate little and was a chronic hypochondriac. Admirable was his love for animals - he had many dogs throughout his life - and his love of solitude (he conducted almost every relationship through the telephone). Such qualities are very important when considering the unmeasurable profundity of this recording - the love of innocence, the aversion to brutality, the childike playfulness are coloured by a deathly weariness and stoicism (hence the beautiful final aria, transcendentally slow, or the tired stubborness of number 1). This is one of those recordings that demands endless relistening - one discovers new things every time amidst the mass of detail and complexity (the diversity of articulation in number 25, the so-called 'black pearl' variation is a good example). His tone is otherwordly, sometimes akin to the sound of a xylophone, sometimes an organ - the glittering textures of Variation 6 or 13 are wondrous. Bach purists will perhaps hate this disc, but wrongly - it is a marvellous realisation of the score combined with a highly original personal vision. Brendel chides Gould for his Bach playing, on the grounds that he fails to bring out the composer's intentions. Well, listen to Brendel's feeble recording of the first two books of Liszt Annees de Pelerinage - as far from the pyrotechnics and thunderous sonorities of the score as one could possibly imagine. Take no notice of these critics - this is surely one of the finest recordings in the entire catalogue, a true marvel of human achievment. It is complex, beautiful and relentlessly profound.

Glenn Gould is without a doubt one of the finest pianist of our time, though he was certainly excentric. This second recording of his of the Goldberg Variations by Johann Sebastian Bach, is his finest work in my opinion.

One thing that is distinctive of Glenn Gould, is the way he manages to play very fast, yet we can still clearly hear every single note. This is apparent in some of the variations here that are played very (too?) fast. But what I thought was extermely good in this recording, is the way Glenn Gould can be soft and touching at times, and hard and fast at other times. We are given the impression that Glenn Gould is telling us a story. The result is very satisfying.

But be warned. This is not Bach as it was intented to be. Lets forget that this is played on a piano for a minute. Glenn Gould's interpretation of the Goldberg Variations can shock some purists. First, like I said before, it is played extremely fast at times. I doubt this is what Bach had in mind. Also, Glenn Gould has this bad habit of putting stacattos everywhere. This is not as annoying as it can be in his interpretation of Bach's Well Tempered Clavier, but still.

Also, another warning for those who do not know of this pianist. Glenn Gould used to sing when he was playing. Not to loud. Just a little hum. But you can hear him on his recordings. If I recall well, he insisted his voice was left on the recordings, because he thought that removing his voice would hurt the quality of the recording.

So anyway, this is still my favourite interpretation of Bach's Goldberg Variations on piano. And it must be the most popular interpretation out there. I still prefer Kenneth Gilbert on the harpsicord, but it is definitely a must-buy if you ask me.

My discovery of Glenn Gould was a bit later, and much more irregular, than most classical music listeners. I was curious as to what could motivate Dr. Lechter, and his creator Thomas Harris, to such devotion.

The first purchased was the Sony 1955 edition, and I listened to it constantly while reading, working on the computer, or even taking a nap.

A few months later I ordered the 1982 recording and was astonished at the difference. The later recording had a much slower pace and seemed much more reflective to my un-tutored ear. I was so surprised I went out and purchased two other recordings: one by Chen Pi-hsien, on piano; and Anthony Newman, on harpsichord. There is a strange difference in the Pi-hsien recording to my un-educated ear; as if she doesn't strike the keys with the same power, and sharpness as Gould. The Newman quickly becomes boring due to the inflexability of that instument, though I presume it is closer to the original clavier for which the Variations were written.

Over the last year or so, I have given both Gould versions to friends, as well as bullying others to purchase it.

Try to listen to both variations of Gould's Goldberg Variations, and see which you prefer. While first impressions may remain strongest, and I still prefer Gould to others, I found a slightly more pleasant shift in timing in the later version.

Obviously I'm in unchartered waters here. For anyone who perused my reviews will no doubt have noticed I tend to critic only jazz and discs associated with singers,i.e.Sinatra, Streisand, etc. That being the case my foray into the field of reviewing classical music more than likely be short...but hopefully "sweet" as well.

I had very recently purchased Glenn Gould's "Goldberg Variations" not because of some new found revelation on my part. Or ,for that matter, because of any sort of "musical stimulation" that I felt was needed. I suspect it was simply because I'd always had a certain fascination for Mr. Gould (his eccentricities aside)and felt a strange obligation to find out more about the man through his music. As stated Glenn Gould was an eccentric, a perfectionist and a man who lived , not just through his music, but also through the technical aspect of recording that enhanced the very music that he so dearly loved. I suspect Mr. Gould's fascination with music was viewed not just emotionally but that he also had an intellectual fascination as well. And with the "Goldberg Variation" he faced his greatest challenge . And there, my friends, lies my curiosity!

Again, I'm only a "layman" when it comes to judging classical pieces so what I say from here on out is simply an opinion from one who has no formal training or even any real insights into this difficult, and challenging, field of music. That being said....I find this recording to be not only stunning in the sense of Mr. Gould's incredible abilities of understanding and playing his instrument but I also found this to be,at least for me, "intellectually stimulating" as well. They say that listening to Mozart, after a period of time, can actually make you smarter...and while that may be true, listening to Glenn Gould play these Variations tends to trigger a intellectual stimulus in me that I find in no other piece of music.The playing is so concise, clear and obviously so well thought out and mastered that I was simply in awe of Glenn Gould's performance. I can almost sense his mind working non-stop,always thinking, reviewing each note singularly, attempting to perfect each section.I've no doubt he probably drove the engineer's in the studio with him "slighly mad" with his constant craving for perfectionism! Glenn Gould was on such a different intellectual plane than most of his peers that I can see why, when this was released, it was initially scoffed at.And, while some have complained of his constant 'humming" throughout these pieces to be distracting, I tend to find that not an annoyance, but it gives the recording a certain emotional investment that, for me, is lacking in many classical recordings!

I'm aware the term "genius" is vastly over used these days but any other adjectives seem to fall strangely short when describing Glenn Gould. My view of this recording is that he simply reached a spiritual, intellectual (there's that word again) and emotion zenith when recording "Goldberg Variation's" and we will forever be in his debt. He truly payed a price for his immense talent's but his listening audience is all the richer for it. In some small way I miss Glenn Gould....but he's never really far away. He's simply exists in every note, in every recording that he so dearly created. Thank-You.

Despite what everyone who I respect as my elders, betters and peers say, ANYTHING by Gould is fine by me! Now... Of the two recordings, 1955 & 1981, my preference is with the latter. I have indeed heard both, and while I respect the vivacity of the earlier recording and the sort of relentless tenacity that I love so much about Gould, I still prefer the more musically tame and mature later recording. As I am very close to studying them myself, I garuntee they will very closely reflect this recording's conception, though not completely. I simply cannot argue with any part of this recording. It has a tame, yet youthful feel throughout. Some variations are reckless, though I see no problem with that. One thing pianists shy away from greatly is having a good conception of what the piece would sound like if it was sung. Gould certainly takes it to the extreme and sings while he plays, but I find this very charming and refreshing. Which is a good way to describe my overall thoughts on the recording. It is a charming and refreshing take on one of my favorite pieces in the piano repetoire.

I love Bach's music, and generally insist on two things; firstly, that it is played a little slower than we are generally served it; and secondly that it is played on traditional instruments. When I first heard Glenn Gould's 1981 recording, I realised how ridiculous that second requirement was, and how important that first requirement was. The music on this album just swept me away. There is no other recording of the Goldberg Variations that I've listened to that even comes close to it.

The technical mastery of Gould goes without saying, but what really struck me with this album was the spirit with which this music is played - the feeling Gould breathes into the work. This is most evident in the opening Aria, which takes you on a journey of the most exquisite emotions. It is played very slowly than any other known recordng. I lack the words to describe it - words like "subliminal", "instropective" bubble to the surface, and above all very human. Bach can be played very mechanically, but not here. Complimented by Gould's ghostly humming, occasionally rising to the level of audibility, Aria sounds like it comes straight from his soul, and allows you to experience a range of extraordinary emotions. It takes you out of yourself. Not once does he use the pedals.

This is just mind-blowing - buy it!

This recording from 1981 is a VERY different interpretation than the brilliant 1955 recording. While some movements are slower in tempo they become much more dense in layering, coloring and even when they are single notes - those notes take on tremendous musical weight even as they disappear into silence.

I have to admit, after becoming familiar with the 1955 recording that this interpretation took some getting used to. Its utter difference led me to want to reject it at first. But as I listened to it again and again it grew on me and I find a lot in it that I like even more than the 1955 recording.

That is the beauty of music. Accepting differnt ways of looking at a piece does not require them to be mutually exclusive.

Sure, there are MANY wonderful recordings of this work, but I would commend this recording and the 1955 debut recording as two that belong in your collection. They will add a richness to your thought about this piece no matter which version by whomever becomes your personal favorite.

This is one of those special moments in history, fortunately preserved for posterity, where the usual criteria of style, idiomatic accuracy, pianism are irrelevant. This unbelievably beautiful and moving recording is about making music, how a composer made a work of exception and how an exceptional musician made it alive - the two as equals. I used to entertain the idea that I was an atheist, and then I heard this recording and realized what I fool I was . . .

This, 1981 recording of the Goldberg Variations, performed by a more matured Gould, is also known as "the digital recording", so much is this recording part of todays's story of music. No lover of classical music, amateur or professional, should miss this CD from his or her collection. While the same could be said of the 1955 recording, "the digital recording" truly shows the development through which Gould went. So, the 1955 recording was a masterpiece, and the 1981 has topped it! Glenn Gould has tightened his control over the tempo and his hands, and the enormeous experience he accumulated in a quarter of century, makes him actually more free. You can feel the freedom whith which Gould plays Bach on this CD, and you will be amazed at the energy that Gould is able to discharge, in a controlled way. So tight is his control, and so masterful his playing, that I had the impression he was playing on an instrument made of crystal, rather than wood and steel.

No wonder, one of Gould's colleagues even killed himself, frustrated by his insuccesses in imitating Gould's genial performance of the Goldberg Variations. But this is another story...

I believe that you will feel very satisfied if you buy this CD. You will have a historical recording that is not just hype, but it's really good, and you will feel good every time you listen to it.

J. S. Bach's GOLDBERG VARIATIONS by Glenn Gould is one of the 10 CD's I would bring with me on a desert island. For more than 15 years now, I listen to this recording 3 or 4 times a year. It gives me peace when I need it. I'm not able to stop listening to it once begun ; you don't say no to 45 minutes of eternity.

A CD for your library.