Customer Reviews

Bach: Goldberg Variations

5 star:		(4)
4 star:		(1)
3 star:		(3)
2 star:		(1)
1 star:		(1)

 

 

This is a truly lovely recording of one of Bach's greatest compositions. Schiff's playing is superb. Why only 4 stars? As commented by other reviewers, this is something of a Romantic version of Bach. This is certainly a legitimate approach and I have to say that I listen to this recording over and over again. Still, if one were going to buy one recording of the Goldberg Variations, I'd recommend buying a more Baroque interpretation. If you want two or more recordings, I recommend this one strongly.

Schiff has extraordinary sensitivity to the wonderful nuances of the primary theme. The variations are each fresh, necessary, logical, and exciting. I can't imagine them any other way after hearing this definitive performance. I have listened to many other performers attempt the Goldberg variations, and this is the best by far. (Gould, just to name one, is too ponderous and overwrought. Not to mention his annoying humming and tuneless singing.) Even if you already own a version, treat yourself to this one.

I'm rather unsure about Penguin's chosen version of Schiff's playing of this wonderful piece by J.S. Bach. Despite Schiff being an amazing performer, I feel he probably needs to mature with the piece. I went to listen to Schiff perform these Variations in Carnegie Hall not too long ago, and it was most breathtaking and spectacular. Schiff is definitely not a performer to be missed; however, Penguin's version of Schiff's playing isn't quite the best around.

One of the most breathtakingly beautiful performances of anything I've ever heard. I later heard other performances i.e. by Gould, that left me cold. Schiff's performance is elegant perfection, supremely musical and intellectually powerful. Highly recommended.

I went to the Carnegie Hall Goldberg and Well Tempered Klavier in 2000/2001 (As well as the Lincoln Center Partitas) and agree that Schiff has grown past this interpretation and it would be womderful to get a new recording by him (although this will probably become interesting for comparison purposes). As for the pro who says get the older Gould version if you don't like the humming, I'd like to point out that the 1955 version is played about twice as fast as the 1982 one. These recordings illustrate the beginning and the end of Gould's career and could not be more different from one another - the 1982 being the definitive one.
As for the liberties one should or should not take with the score I believe that is debatable - does anyone really know today how Bach wanted these played?

I have the '55 Gould recording, and this one with Schiff. These two interpretations couldn't be any more different. Yet, I find them both convincing. Overall, I prefer to listen to the Schiff, mainly for these reasons: 1) The Gould recording is mono. Since I'm not deaf, I enjoy listening to stereo more than mono (likewise, I can appreciate a Monet painting more in color, than in black & white). 2) much tinkering has been done with the volume on the Gould recording -- the volume is obviously turned way up on the loader passages. I find that this kind of tinkering makes the recording less "real".

Some people find the Schiff recording to be "whimpy". Once again, since I have two ears, I can hear what are called "subtle nuances" in the interpretation. I realize that "Subtlety" in music is not for everyone, but I like it.

Schiff tries hard to deal with the Goldberg, but his lightfooted (a bit wimpy) style falls short. It sounds thin and a bit lost. This becomes apparent when listening to other interpretations, such as Glenn Gould's 1955 breakthrough recording (arguable the best ever), or Vladimir Feltsman's ornamented version. Unless you already have Gould or Feltsman - I can't recommend Schiff for the Goldberg.

Schiff does a much better job with some of his other Bach recordings, such as his French Suites - a 5-star recording that kicks butt!

This recording is a wonderful,enjoyable performance of the Goldberg Variations, BUT-it is unlikely that Bach would have performed it this way. The slight rubatos and other liberties that Schiff takes are pretty and beautiful, but not written in the score. Unfortunately, the performance practice in Bach's time is to play literally what is on the page; there is no room for "romantic" interpretation in the Baroque period(the time when Bach lived). In my own studies of Bach piano from childhood through professional collegiate work, all the professional pianists I studied with verified this performance practice.

That being said, this performance is beautiful and enjoyable, and if someone is not so concerned with how Bach wanted it performed, this would be an enjoyable copy to own.

I prefer both the early and late Gould recordings to this one. I have to admit that the first time I heard the humming on the late Gould performance, I was a bit put off by it. But I later discovered that Gould was obsessed by this work and that his humming included countermelodies that he was composing on top of what Bach had already written. Truly a sign of his genius. If you don't want humming, get the early Gould version, which has none, and it shows sparkle and color without distorting the music.

Just for perspective, my favorite composers to listen to and perform are in the Romantic era. Rubatos and other performance liberties are allowed in music in that time period, and I find that music expressive and powerful and beautiful. BUT- when it comes to Bach (who lived long before this era)-liberties are out of character in the music of that time. It would be like watching the "Titanic" movie with all the characters dressed in cutoffs and T-shirts, instead of the costumes of that era. The actors' lines might be the same, but the overall effect would be destroyed.

To conclude: First, buy the early Gould recording to hear Bach's true intentions. That performance is spectacular! Second, if you don't like it, buy this recording. If the genius of Gould interests you, get his later recording. Also, you can always donate your first purchase of early Gould to an aspiring college musician, who should own it as part of his/her professional collection. The early Gould recording is the performance standard for this work by Bach.

One reviewer has said that listening to this recording is like watching the movie Titanic with the characters dressed in T-shirts and cut-offs. Apt, but not extreme enough. How about watching Rocky with the characters dressed in periwigs and knee-britches! Anachronism fails in either direction. Schiff imposes his late Romantic sensibility on Bach with the foolish determination of a father who wants his musical son to be a football star or a dentist. The best recording of the Goldberg Variations currently available is by Trevor Pinnock. An even better version is that of Bob van Asperen, but it's out of print. The performance by Pieter-Jan Belder, in the Bach Edition Complete Works (on harpsichord of course) is excellent, and now there is a remasterd CD of Wanda Ladowska, with ten times the conviction of Mr. Schiff..

Andras Schiff is one of my favourite Bach interpreters, but this time he didn't grasp the idea of the Goldberg work. Schiff's bouncy and lightfooted playing destroys several of the thematic flows through the variations, and you get somewhat lost. Although quote enjoyable, each variation is played with an attitude that focuses more on the details rather than on the whole. Deligtful playing from this master, but we need more blood and vigor! Schiff's somewhat wimpy style doesn't reach all the way in this recording.

Schiff's idol is Gould, and perhaps he was trying to clearly make difference here? Go Gould, take the 54 or 55 recordings for its youthfulness, or the 80's for its sincerity and beauty. Schiff falls short in comparison, but will surely attract many for its easy-listening attitude. A great second, and complementing choice to GG though!