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Thread: Bach: Goldberg Variations, BWV 988

  1. #46
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    Quote Originally Posted by Baron Scarpia View Post
    What I'm annoyed at is having the WTC split into 5 "volumes" for $10 each. They've priced themselves beyond what I'm willing to pay.
    Oh for fks sake, we're talking great poetry and high art here. You can't take it with you you know

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    Senior Member Bulldog's Avatar
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    Quote Originally Posted by Mandryka View Post
    They're mostly all like this, the modern pianists on the big labels.

    I heard a really unusual one the other week -- if you're in the mood I'd love to hear your impressions. Tzimon Barto.
    Are you referring to the version on the Capriccio label that's arranged by Busoni?

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    Quote Originally Posted by Mandryka View Post
    Oh for fks sake, we're talking great poetry and high art here. You can't take it with you you know
    No, but I can buy some other high art with my money. Or food.
    Last edited by Baron Scarpia; Aug-14-2018 at 20:38.

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    Senior Member Bulldog's Avatar
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    Concerning Barto's recording on Capriccio, I'm familiar with it and have not thought well of the interpretation. However, I did listen to some of it today to see if my previous opinion was still valid - it is. Barto is rather infuriating with his mannerisms and approach. He loves to play ever so softly and slow down the proceedings; I find it kills the musical flow. At the other end, there are times when his ridiculously powerful bass chords take over a variation. Overall, I find it a mess. Take the 30th variation where he ruins the joy of the music and turns it into a call for arms.

    I'm all for a different take on the Goldbergs if it offers some insight and sounds natural. Barto's take just sounds like being different is what matters.

    What do you think of Beatrice Rana's version on Warner Classics?

    P.S. - Every time I type Barto, it changes into Bartok.
    Last edited by Bulldog; Aug-14-2018 at 20:55.

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    Quote Originally Posted by Bulldog View Post
    Concerning Barto's recording on Capriccio, I'm familiar with it and have not thought well of the interpretation. However, I did listen to some of it today to see if my previous opinion was still valid - it is. Barto is rather infuriating with his mannerisms and approach. He loves to play ever so softly and slow down the proceedings; I find it kills the musical flow. At the other end, there are times when his ridiculously powerful bass chords take over a variation. Overall, I find it a mess. Take the 30th variation where he ruins the joy of the music and turns it into a call for arms.

    I'm all for a different take on the Goldbergs if it offers some insight and sounds natural. Barto's take just sounds like being different is what matters.

    What do you think of Beatrice Rana's version on Warner Classics?

    P.S. - Every time I type Barto, it changes into Bartok.
    I didn’t know Barto was playing the Busoni, but I do know the transcription from Tanski’s recording. Haven’t heard Rana, will do tomorrow if I can!
    Last edited by Mandryka; Aug-14-2018 at 21:29.

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    After attending a recital by Dinnerstein doing all of it straight thru, it'll be OK if sometime before i listen again. This season she is coming back with the Goldbergs in two different group settings.

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    Re Rana, I thought it was charming, radiant, refreshing music making, easy to like.

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    Quote Originally Posted by endelbendel View Post
    After attending a recital by Dinnerstein doing all of it straight thru...
    I'm curious—did she have the modern dance troupe with her when you saw her? She did when we saw her. We found them to be basically a distraction. But her playing was top-notch. 75 minutes... she played all of the repeats.

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    This thread aroused my interest, so I listened to Rübsam's recording. The right hand and the left hand play as if they are two independent players who are improvising, listening to each other carefully, hesitating or rushing at times. Sometimes, it almost sounds like aleatory music. I was reminded of the rhythmically complex pieces of Michael Byron. Amazing.

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    Senior Member Oldhoosierdude's Avatar
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    Which are there more of, Bach cello suite or Bach Goldberg recordings? And so many good ones!

    I have the obligatory Gould recording that I can only listen to through speakers because I can't abide the extraneous noises. I have Perahia, which I like. Also from cheap box downloads I have P. Serkin which is surprisingly good and J. Friskin which is a solid B-.
    I think those will do OK.
    Last edited by Oldhoosierdude; Aug-17-2018 at 13:50.

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    Quote Originally Posted by Bluecrab View Post
    I'm curious—did she have the modern dance troupe with her when you saw her? She did when we saw her. We found them to be basically a distraction. But her playing was top-notch. 75 minutes... she played all of the repeats.
    Jerome Robbins choreographed the Goldberg Variations for New York City Ballet back around 1970. It's still in their active repertoire, although not performed too often; I've seen it once. I recall feeling rather sorry for the ballet company's pianist who was playing one of the great masterpieces for the keyboard while no one was paying attention to him.

    Robbins seems to favor Bach and Chopin over other composers.

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