BACH. Goldberg Variations. Egarr
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|2. Variatio 1 - A 1 Clav.|
|3. Variatio 2|
|4. Variatio 3 - Canone All'Unisuono|
|5. Variatio 4|
|6. Variatio 5 - A 1 Ovvero 2 Clav.|
|7. Variatio 6 - Canone Alla Seconda|
|8. Variatio 7 - A 1 Ovvero 2 Clav. Al Tempo Di Giga|
|9. Variatio 8 - A 2 Clav.|
|10. Variatio 9 - Canone Alla Terza|
See all 16 tracks on this disc
|1. Variatio 16 - Ouverture|
|2. Variatio 17 - A 2 Clav.|
|3. Variatio 18 - Canone Alla Sesta|
|4. Variatio 19|
|5. Variatio 20 - A 2 Clav.|
|6. Variatio 21 - Canone Alla Settima|
|7. Variatio 22 - Alla Breve|
|8. Variatio 23 - A 2 Clav.|
|9. Variatio 24 - Canone All'Ottava|
|10. Variatio 25 - A 2 Clav., Adagio|
See all 30 tracks on this disc
L'intégrale des Variations Goldberg – l'apogée des compositions pour clavier de J.S. Bach – est interprétée ici sur un clavecin d'après Ruckers, pourvu de becs de plumes, et accordé selon un tempérament qui pourrait bien être celui du maître. En complément : les 14 canons Goldberg, rarement joués et peu connus.
Richard Egarr joue sur un clavecin de Joel Katzman, Amsterdam, 1991, d'après Ruckers, Anvers, 1638.
Most Helpful Customer Reviews on Amazon.com (beta)
However, this work demands the kind of virtuoso skills to strike fear in the heart of any virtuoso performer. Dexterity, speed, lightness of touch, dazzling independent fingerwork, in few words an absolutely and deeply felt musicianship.
English keyboardist Richard Egarr plays an excellent harpsichord ( a copy after Ruckers, Antwerp 1638. ), adjusted to match certain speculation about Bach's preferred system of tuned, the tuning pitch A=409, according to Bach required to obtain " a true cantabile " using in this occasion a seagull feather instead of a piece of plastic to pluck the strings.
Egarr delivers a wholehearted performance, taking the listener to the murky side of this enigmatic work, revealing a distinguised playing inspired completely in Bach the composer, not Egarr the performer.
Bach's music lovers will find additional interest in this recording, for the inclusion of the rare Goldberg Canons BWV 1087 discovered in 1974. This work makes a valuable contribution to the vast Bach's discography.
I have no reservations in recommending this excellent survey, not only for the scholarship, but also for its deeply felt musicianship.
Now there is a new contender for these ranks of great performances in this splendid recording by harpsichordist Richard Egarr. Egarr is a purist and has tuned his instrument in the half tone manner compatible with the method of tuning in Bach's day. He is an immaculate technician, negotiating all of the treacherous variations with utter ease but also finding the sublimely gentle melodies in others. True, with the Goldberg Variations as played on the harpsichord there is not the range of dynamics or even expressiveness that is available to the performer of this work on the much later developed piano or even pianoforte. Those who treasure Gould's definitive performances will miss the poetry, the pedaling, the swooning - and the audible accompanying singing from the keyboardist!
But set aside the piano version of this Bach masterpiece and allow Richard Egarr to transport you back to the time of the creation of the work. It is a mesmerizing experience. Egarr's 2 CD set includes the seldom heard 'Verschiedene Canones (14), for unspecified instruments or keyboard, BWV 1087' which, though a mere 8 minutes in length is yet another otherworldly exploration of Bach.
Many scholars will write prolifically about the response to the particular tuning aspects of the harpsichord used by Richard Egarr, and that will prove an interesting debate. But for the less scientifically audience this recording is a viable, no splendid!, variation of Bach's timeless Goldberg Variations. Highly Recommended. Grady Harp, March 06
Richard Egarr does it proud. He is now well established as one of the world's leading harpsichord players with a deep understanding of the music, fabulous technique and compete mastery of his instrument. He plays with minimal rubato, but sufficient to bring out the meaning in Bach's phrasing. Just occasionally he adopts a slightly halting gait (noticeable in variations 1 and 5, for example) which I'm not that keen on, but it was never intrusive enough to interfere with my enjoyment. It's a lovely interpretation.
Harpsichord music isn't always easy to listen to at length, but I never tire of it here. The sound of the harpsichord is simply wonderful - full, ringing and rich but never overbearing - and it is superbly recorded. There are many very fine recordings of this work, but for a harpsichord version I don't think you can do better than this one, which is really saying something in the face of terrific versions by people like Trevor Pinnock, Christope Rousset and Gustav Leonhardt. Very warmly recommended.