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Bach: Goldberg Variations
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Music CD Cover Composer: J.S. Bach Performer: Simone Dinnerstein Edition: Music CD CD Release Date: 2007-08-28 Music Label: Telarc Soundtracks: - Aria
- Variation 1
- Variation 2
- Variation 3 - Canone all'Unisono
- Variation 4
- Variation 5
- Variation 6 - Canone alla Seconda
- Variation 7
- Variation 8
- Variation 9 - Canone alla Terza
- Variation 10 - Fughetta
- Variation 11
- Variation 12 - Canone alla Quarta
- Variation 13
- Variation 14
- Variation 15
- Variation 16 - Canone alla Quinta
- Variation 17
- Variation 18 - Canone alla Sesta
- Variation 19
- Variation 20
- Variation 21 - Canone alla Settima
- Variation 22
- Variation 23
- Variation 24 - Canone all'Ottava
- Variation 25
- Variation 26
- Variation 27 - Canone alla Nona
- Variation 28
- Variation 29
- Variation 30 - Quodilbet
- Aria
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Free Music Notes for Bach: Goldberg Variations AlbumFree Music Review: Loving and inspired by turn Hit: 4 StarsSimone Dinnerstein, a Julliard graduate that studied with Peter Serkin, has been hailed widely for outstanding techinque, warmth and fluidity in her playing. She was subject of a Harris Goldsmith feature in American Record Guide and has been compared to a young Argerich. She plays widely around New York and elsewhere on the East Coast and scheduled her London debut this year.
Her Goldberg variations are beautifully done and exceptionally thoughtful, there is no question about that. She plays with authority and technique second to none. Eschewing the staccato affect of Glenn Gould, her style is far more akin to Murray Perhaih and others that seek more transluscent legato.
This is not to say she cannot pound the keyboard or turn a phrase with the best of them -- listen to Variation 16 for that. Compared to the last recording of the Goldbergs I heard, by Perhaia, hers is warmer, more humane and perhaps less driven. But she is not afraid to change course in mid-stream -- listen to her abrupt tempo change in Variation 19 and the hop to return to rapidity in Variation 20.
Certainly this is outstanding pianism captured in an elegant sound field and presented for the listener is a 5 X 5 X 5 setting that is up to current DDD standards. I'd like to hear more of the train of thought or stream of consciousness cerebral approach I've heard in Bach from Richter and Elena Kuschnerova but I wouldn't suggest this is a bad performance lacking those qualities. For me, it's not the pinnacle; still, it's a beautifully retouched scan of Bach's masterpiece delivered on a 1903 instrument that sounds like it was made yesterday.
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