# what recording to choose for goldberg variations?



## MaLo_1989

hi everyone,

firstly i want to introduce myself here because i'm new here

for a while now i want to get the goldberg variations from bach but there are some many recording versions available i don't know wich one to choose. first i wanted to buy the glenn gould copy but than i heard that his recording wasn't authentic. and that's the recording i'm after. a authenitic recording (harpichord or piano), the way bach wanted it played. not some loose interpetation of his work... can anyone recommend an album to me?

greetz!


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## Polednice

I'm not as on the ball with Baroque recordings as I am for later works, but (seeing as I like my Baroque music on a piano where possible!) I just bought Andras Schiff's recording of the _Goldberg Variations_ the other day and I'm delighted  (Also recommended as the best piano recording by BBC Radio 3). Another name you might want to try is Angela Hewitt, seeing as she's so prominent in Bach performance, but I don't know anything about harpsichord interpretations.


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## Jaime77

thought i posted here? 

beat recording might well be glenn gould's 1981 recording of them. it is one of the best recordings of any classical piece as you will see if you dig a little. Sublime. Not much else to say about it. 10 out of 10


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## StlukesguildOhio

Glenn Gould's 1955 and 1981 recordings are both brilliant. Not authentic? According to whom? Some fanatics of historically informed performances, no doubt who would insist upon the use of a harpsichord produced in the right time and place. I am an absolute Bach fanatic and I would not be without the Gould recordings... although I would also want the recordings by András Schiff, Murray Perahia, Angela Hewitt, and Rosalyn Tureck. If you insist upon a version performed upon Harpsichord check out Gustav Leonhardt. I don't think you can go wrong with any of these "interpretations"... and keep in mind that all performances are "interpretations"... some may be freer or play a bit looser with certain aspects of the score, but no really good recording might be seen as the ultimate "authentic" interpretation.


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## scytheavatar

Eh.... the big problem with Gould's goldberg isn't that it's not authentic, I kindna like his mono goldberg, but.... yeah it's in mono which is a huge minus. As for his stereo goldberg here he's just being pretentious and trying to make everyone think he's so sensitive to the score, which is just stupid. And his vocalization is stupid too no matter what his fans say. I vastly prefer the Perahia recording which is the recording I can recommend.


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## dafnis

my 2 cts...
Piano: Tureck (VAI) and Gould (1955)
Harps.: Leonhardt (Teldec) and Landowska (nice cheap edition on Naxos)


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## HarpsichordConcerto

My only version of this work, _Aria mit verschiedenen Veranderungen_, is played by Christophe Rousset, on a Hemsch 1751 harpsichord. If you want HIP, then I would encourage this version. All repeats are played.

The famous Gould version on piano sounds horrible to my ears. The opening Aria comes to a grinding halt, as if Gould wanted to play the slowest version ever on recording. Nonetheless, it goes to show the genius of the music; no matter how it gets stretched, it still sounds sublime to many. Even Hannibal Lector loves that version.  I don't think Gould played out the repeats but doesn't matter, otherwise that would take far, far too long!

Decca has deleted the single disc version pictured below and repackaged it into a set of 4 discs of Bach's other harpsichord, also played by Rousset.


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## Guest

I have the Gould '81 recording. It is really not that bad - although his vocalization throughout can be a bit annoying. I also have Trevor Pinnock playing them on a harpsichord, which is decent. Normally I like him, but the sound of the recording tends to grate on me after a while - a little too clear.

If I were to get another one, I think my next purchase would be Perahia. I have other Bach recordings by him (English Suites, Keyboard Concertos), and they are wonderful.


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## Jaime77

Gould's recording is really not that bad?? Is interesting as it was voted as number one in the top 100 reocrdings _of all time_ by Gramophone magazine. Number one. Now, Gramophone of course is not the last word on classical recordings but there has got to be more than 'not that bad' to this ?

Yes, it is not as authentic as Perahia and Perhia is less authentic than Leonhardt. What I am suggesting is that music can be quite transformed from the original intention and still give rise to something as profound or more so than the original. Why not?

What about the many big Beethoven performances of people like Klemperer or Furtwangler, making tempo choices that are often totally inaccurate and way too dense for the time, compared to a more histroically-infromed approach like that of Harnoncourt. Could we not perhaps put aside authenticity and listen to this music as music first rather than as _period music_. Like we have to do with the Art of Fugue, which has been given so many renderings.

Don't get me wrong I prefer period performances of Baroque music but great musicianship transcends all that and what Gould does with Bach, in my opinion, is truly great. To criticise the fact he hums along to the music is like criticising Callas for hitting sharp notes or Argerich for losing the tempo completely in her ecstatic solo runs on the piano. It is the human element. The trade off in technique for the exceptional in expression.

No, Gould's recording is not brilliant as an accurate presentation of a style of music from a time, but simply as *music* which through his exploration, intensity and his personal state of mind at the time, gives it a meaning that goes beyond the confines of any music history.

(watch now as I get torn apart for my passion )


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## kingdubrock

Hi, New here.

_Could we put aside authenticity and listen to this music as music rather than as period music. ...great musicianship is something beyond all that and what Gould does with Bach, in my opinion is truly great. Not as an accurate presentation of a style of music from a time, but as simply as music which through his *exploration* and intensity gives it a meaning that goes beyond the confines of any music history_

Very nicely put.


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## Jaime77

Thank you King


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## HarpsichordConcerto

kingdubrock said:


> Hi, New here.
> 
> _Could we put aside authenticity and listen to this music as music rather than as period music. ...great musicianship is something beyond all that and what Gould does with Bach, in my opinion is truly great. Not as an accurate presentation of a style of music from a time, but as simply as music which through his *exploration* and intensity gives it a meaning that goes beyond the confines of any music history_
> 
> Very nicely put.


True. All that matters are how your own ears and emotion respond, at the end of the day. Some tick well to an ancient harpsichord, others to a modern grand; both played by first class musicians. We're all different.

The opening Aria is one of my favourite Barqoue melodies.


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## HarpsichordConcerto

DrMike said:


> I also have Trevor Pinnock playing them on a harpsichord, which is decent. Normally I like him, but the sound of the recording tends to grate on me after a while - a little too clear.


"A little too clear" can also be said of Rousset's version. The microphone must have been placed right in the harpsichord's sound board. With these big recording companies like Decca (Universal), DG etc. that's very often what they do.


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## Guest

I didn't mean anything demeaning by my comments about Gould - more in response to what others had said. Honestly, I like that recording, although the vocalizations do at times distract. 

I picked up Kenneth Gilbert's recording on harmonia mundi for only $6 on iTunes, and it is very pleasant. This is a harpsichord recording, if that matters.


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## scytheavatar

jaibyrne said:


> To criticise the fact he hums along to the music is like criticising Callas for hitting sharp notes or Argerich for losing the tempo completely in her ecstatic solo runs on the piano. It is the human element. The trade off in technique for the exceptional in expression.


Perahia's goldberg is far more exception, far more expressively played than Gould's goldberg and I did not hear a single hum from him. Overrated is overrated, I am sick and tired of how Gould's goldberg undeservedly overshadows all the other exceptional goldbergs.


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## Jaime77

scytheavatar said:


> Perahia's goldberg is far more exception, far more expressively played than Gould's goldberg and I did not hear a single hum from him. Overrated is overrated, I am sick and tired of how Gould's goldberg undeservedly overshadows all the other exceptional goldbergs.


I am a big fan of Perahia, especially playing Mozart. I don't agree that one recording should totally overshadow others. I was reacting to people's saying that Gould's version was 'not that bad' or not mentioning him at all as a posibility or criticising him for his idiosyncracies in performance practice which meant overlooking his musicianship.

I have no doubt there are many great Goldbergs.

I must listen to Perahia.


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## Taneyev

I've an IMHO excelent piano version by Andrei Gavrilov. But my favorite (to heard clearly all the voices) is the string trio transcription of Sitkovetsky-Causee-Maisky. A fantastic achievement.


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## howlingmadhowie

scytheavatar said:


> Perahia's goldberg is far more exception, far more expressively played than Gould's goldberg and I did not hear a single hum from him. Overrated is overrated, I am sick and tired of how Gould's goldberg undeservedly overshadows all the other exceptional goldbergs.


yeah, but compared with gould, perahia does sound like he's playing the piano wearing boxing gloves. but then pretty much everybody sounds like that if you compare them to gould (except pollini).

i shouldn't be cruel. i'm a big fan of perahia, he's an excellent pianist and musician. but he is a pianist. when gould plays i sometimes wonder if his brain is making the sound. there appears to be no technical movement of fingers and arms at work. it's as if his brain was directly connected to the strings and the dampers and his fingers move just to convince the people present that he is actually playing a piano in the traditional way.


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## Guest

Wow, my one comment I meant to be innocuous has really built up steam for some. I will repeat - I enjoy Gould's 80's recording. It was my introduction to the variations. I am no music expert, so I can't speak to the technical genius of it. I knew that you could hear his vocalizations in the recording BEFORE I bought it, and yet I bought it anyway. 

Purely from my perspective, someone with no training in theory or technique, to my ear, it is a good recording, but I'm not going to hail it as the greatest, nor include it in my desert island collection. I don't even rank it in my top 100, and I am a great admirer of Bach. Thus far it is my favorite of all Goldberg Variations I have, but until yesterday that only included Gould and Trevor Pinnock. I picked up Gilbert's recording on Harmonia Mundi, and will likely also get Perahia's. 

Gould's is a very unique interpretation. That was his trademark. His Bach is no doubt very highly acclaimed. I just find the descriptions of this piece to be a bit overdone. To say that a particular piece is not the greatest thing known to man does not detract from it being an excellent interpretation/performance. 

I repeat my statement. It is a good recording. For a first recording of this work, I recommend it. I wouldn't stop there though. It will likely not be everybody's favorite.


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## Lukecash12

This question makes my brain hurt...


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## Guest

I thought I would re-address this topic, now that I have given myself time to listen to the Gilbert recording on harpsichord, and Perahia's recording.

My new recommendation - without reservation - is Perahia. This is just an incredible recording. I have been treating myself to his various Bach recordings as of late, and what a treat it has been. If ever there was an argument against the need of using authentic instruments for performing Bach's works, this is it.

I'll note that, in reference to my earlier comments, I don't seem to be in the minority, necessarily, regarding my thoughts on Gould's '82 recording (I have not heard the 50's recording, so I cannot comment on it). The 2008 edition of the Penguin guide that I have has recommended Gould for the Goldbergs, but it is not ranked as highly as others, including Perahia. ClassicsToday.com chose Perahia's recording for their list of 100 classical CD's for building a library. Hurwitz does count both Gould's and Perahia's recordings as the reference recordings for this work - but both Hurwitz and the Penguin guide comment disparagingly, as did I, on the constant humming in Gould's recordings.

I have Gould's recordings of the Goldberg Variations, as well as the French Suites, and I enjoy both. However, I am absolutely in love with all of the Bach recordings of Perahia that I have thus far listened to (Goldberg Variations, English Suites Nos. 1, 3, & 6; Keyboard Concertos 1-7, and Partitas 1, 5 & 6). Right now, if you forced me to pick just one, it would be Perahia.

Oh, the Gilbert harpsichord recording is also very nice for those who prefer Bach keyboard works to be performed on the harpsichord.


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## World Violist

If you're going for piano I'd go for Gould's '81 recording. The '55 one is fantastic, but sometimes seems a bit too hectic. Either way you go, Gould has possibly the best sense of this work.

On harpsichord, I'd try to get Masaaki Suzuki's recording on BIS. It's really amazing, and as my third recording of the piece (after Landowska and Gould '55), I feel like it's my favorite one of the bunch. The harpsichord has a really mellow sound, Suzuki is not afraid to ornament many of the notes, and he's not afraid to take the arias quite slowly, while still bringing out their distinct character as well as the characters of the other variations.


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## Poppin' Fresh

I have both Gould recordings and the Perahia recording of the Goldberg Variations. They're completely different and I enjoy both performer's takes on them. However, I prefer Gould's. On an emotional level, Perahia's doesn't strike me with nearly as much impact. The expressiveness of Gould's readings were a revelation for me: they really demonstrate how a classical piece of music isn't purely notes on a paper, and can be convincingly transformed in the hands of a gifted performer.

His humming is annoying, no doubt. But I gladly put up with it to hear these fresh and unique readings.


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## Il Seraglio

I have yet to buy a recording of Bach's Goldberg Variations, but -authenticity or no authenticity- I think Gould would be my first choice. Scarlatti's sonatas on the other hand, I would have to get a harpsichord recording.


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## Guest

Il Seraglio said:


> I have yet to buy a recording of Bach's Goldberg Variations, but -authenticity or no authenticity- I think Gould would be my first choice. Scarlatti's sonatas on the other hand, I would have to get a harpsichord recording.


Regardless of which recording you opt for, you should get this incredible work of Bach's. I was introduced to these variations early in my exploration of classical music, and was somewhat skeptical of a bunch of variations. I was more than pleasantly surprised.


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## nefigah

Since first reading this thread, I've purchased Schiff's and Perahia's Goldberg Variations, and spent some time with them. They are both amazing, though I'd have to say Perahia's is the most amazingest 

I wanted to agree with DrMike's sentiment that if you are reading this, and don't own a recording of the Goldbergs, get one ASAP! And I'll throw in my recommendation for Perahia*.

*I personally have OCD or something that makes it very difficult for me to enjoy music when there are (aural) distractions. Live concerts can be very hard on me if people nearby are talking or coughing, recordings where you can hear the performer breathing are almost painful, and those tracks of Gould where you can hear the humming are unlistenable. _But this is just me,_ and I know it doesn't affect others nearly so much. So keep that in mind as context for my recommendation.


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## Rafael2007

I have the 55´and 81´recordings by Gould and the one by Perahia. If you doubt about the authenticity of Gould (I really do not care) I would go with the Perahia version. I love the playong and the sound is the best of the three (in the last recording by Gould, he "sings" in some parts, soit may be irritating for some people).


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## Jeremy Marchant

The Goldberg variations, I believe, are too great to be encompassed by one recording. You need at least two. And, if you have two, that should indicate one on piano, one on harpsichord.

For piano, I would say, go for Glenn Gould's 1981 recording. Some, even on this forum, say it's inauthentic. It's important to realise they are talking about performance practice, not the music. Performance practice is important, but it isn't the music. 

Personally, I am happy with Trevor Pinnock's harpsichord performance - I just don't seem to have played it much. I feel the Goldberg variations are pianistic and need, at least a fortepiano to make them work.


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## HarpsichordConcerto

Jeremy Marchant said:


> Performance practice is important, but it isn't the music.
> 
> Personally, I am happy with Trevor Pinnock's harpsichord performance - I just don't seem to have played it much. I feel the Goldberg variations are pianistic and need, at least a fortepiano to make them work.


Performance practice conveys the music. That's why you are "happy with Trevor Pinnock's harpsichord version". But let a monkey play the Goldberg Variations, I doubt you will be pleased with that.


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## realdealblues

Even though this is a few days old, I'll chime in just because I am a disciple of the man. I have over 15,000 albums (around half of which are Classical), and I have multiple versions of pretty much all of my favorite classical works, but I only have 2 versions of the Goldberg Variations, both Glenn Gould.


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## annie

i prefer perahia (p) & hantai (h)


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## Ariasexta

Trevor Pinnock, Scott Ross, Pierre Hantai

I am a harpsichord specialist, never listen to piano or fortepiano.


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## annie

Ariasexta said:


> Trevor Pinnock, Scott Ross, Pierre Hantai
> 
> I am a harpsichord specialist, never listen to piano or fortepiano.


   this is refreshing . i'm a piano specialist, never listen to harpsichord or clavichord


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## kv466

If you wanna hear a bunch of people TRYING to play these variations, get anyone and everyone who has ever recorded them...once you're done wasting your time with that, get Glenn Gould either the first or the second recording and then you'll finally hear the way it was meant to be played and ONLY way Bach himself would be proud to listen to.

Only other one that is even 'decent' is Goulda.


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## Bix

Jaime77 said:


> I must listen to Perahia.


I have this recording and he is very good, his litheness in the first variation is delightful.


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## Webernite

There's a good recording by Charles Rosen, one of the few recordings of his that are still available.


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## beethovenian

Fabio Bonizzoni on the harpsichord. I also like his Handel Cantata series.









The harpsichord sounds really good, sharp on the treble and quite surprisingly bassy(for a harpsichord) on the lower range.


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## bumtz

I love the Gould '55, less so Gould '81. I also enjoyed the Evgeny Koroliov piano recording on Hanssler. It is more or less in the Gould '81 vein (with all repeats), very tasteful. Fast variations are simply amazing. I can't stand the Perrahia version.

I have not heard too many harpsichord versions. The only one I have is Leonhard (on Deutsche Harmonia Mundi), and it's OK, but sounds e bit mechanistic for me. I definitely plan to get more Goldbergs on harpsichord.


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