Customer Reviews

Goldberg Variations

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I prefer the Goldbergs on piano. Glenn Gould's later version is my favorite. Rosalyn Tureck's version on VAI is my second favorite, though I enjoy all three of her recordings, as well as the 1955 studio version of Gould, and his CBC and live Sony versions.

However, in as much as the piece was written before the invention of the modern piano, and to hear different ways of playing this great masterpiece, it is also good to have at least one version on the harpsichord. Generally such recordings are too harsh. I don't much care for the sound of the unaccompanied harpsichord, though accompanied, such as in the 5th Brandenberg, it is preferred. However, Hantai has either chosen a very favorable instrument, or the recording company has used superb recording techniques, or his playing is quite unique, for this CD is not at all harsh. In fact, it is actually pleasant to listen to the sound.

As to the interpretation, it is more on the contemplative and serious side (like the Tureck on DG) as contrasted to a heroic performance (like Tipo on EMI) or an ethereal one (like Gould's last on Sony). I liked it a lot. I would recommend this recording without hesitation to anyone who wanted to hear the Goldbergs played on a harpsichord.

While I am at it, I recommend that lovers of this great masterpiece check out the version by Kurt Rodarmer on classical guitar (Sony). I was hesitant about it at first, but repeated listenings completely won me over. Just as one would want a piano version and a harpsichord version, the devoted listener will also cherish Rodarmer's guitar version.

I had heard professional harsichordists talk of this recording of the Goldberg in quite glowing terms for a while before I brought it and hearing it for myself it was quite clear why. There is just something Elysian about Hantai's Goldberg Variationen. It seems like the Goldberg of my dreams where everything has an implacable sense of utter rightness about it. It could be the perfectly judged tempi, or perhaps the beautiful phrasing - you can just imagine C.P.E. Bach sitting there saying 'ah, I see you've been reading my book on keyboard playing - now that's what I mean when I say you have to make your instrument sing, just like Father taught me to do'. Whatever the case it just feels completely 'right'. Many others feel the same about this magical recording for this was included in the Goldberg early music magazine issue 34 list of the 50 essential recordings of J.S. Bach's music - along with versions by Gustav Leonhardt and Glen Gould.

For a long time I had been listening to the Glenn Gould version of the Goldbergs and had marvelled at the revelatory nature of his playing that seemed to quite put other versions in the shade. So really, I love hearing Bach on the piano and usually I find myself prefering it. Here though, the playing transcends issues of harpsichord vs piano - it is just plain inspirational, just as it is with Gould, only arguably better. There is greater poetry here, more of a genuine singing tone and above all an in-tuneness with the Affekt of each variation. It is all so irresistable to listen to - once you start you just have to listen all the way to the end.

So for my desert island Goldberg I am picking this one.

This is such a marvelous recording that it demands to be heard. The young and unbelievably talented Pierre Hantai plays each variation with dashing virtuosity and unmatched understanding. If Bach had heard the numerous recordings available, I am quite sure this would be his favourite. Forget about piano TRANSCRIPTIONS, this is what Bach composed.