Track Listing

1. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Aria
2. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 1
3. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 2
4. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 3
5. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 4
6. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 5
7. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 6
8. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 7
9. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 8
10. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 9
11. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 10
12. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 11
13. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 12
14. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 13
15. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 14
16. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 15
17. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 16
18. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 17
19. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 18
20. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 19
21. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 20
22. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 21
23. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 22
24. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 23
25. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 24
26. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 25
27. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 26
28. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 27
29. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 28
30. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 29
31. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Variation 30
32. Goldberg Variations, for keyboard (Clavier-Übung IV), BWV 988 (BC L9): Aria da Capo

Product Details

• Amazon Sales Rank: #4722 in Music
• Brand: Bach
• Released on: 1990-10-25
• Number of discs: 1
• Dimensions: .21 pounds

Amazon.com essential recording
The clear-cut rhythms, riveting articulation, and contrapuntal acumen of Glenn Gould's 1955 debut Goldberg Variations characterize this 1981 remake to strikingly different results. This later version is more deliberate in pacing, stark in expression, thoughtful with ornamentation, and tightly organized (if a mite theatrical) in terms of tempo relationships. Whereas there are no repeats from 1955, Gould now observes "A" section repeats in the canons, the Fughetta, and other fugue-like variations. The rapid, cross- handed sequences still dazzle with pinpointed fingerwork, yet the slower tempos better serve the music's dance-like qualities. Unlike Sony Classical's better sounding Glenn Gould Edition transfer, the original CBS Masterworks CD still has no banding cues. --Jed Distler

Customer Reviews

Glenn Gould's finest recording
Glenn Gould is without a doubt one of the finest pianist of our time, though he was certainly excentric. This second recording of his of the Goldberg Variations by Johann Sebastian Bach, is his finest work in my opinion.

One thing that is distinctive of Glenn Gould, is the way he manages to play very fast, yet we can still clearly hear every single note. This is apparent in some of the variations here that are played very (too?) fast. But what I thought was extermely good in this recording, is the way Glenn Gould can be soft and touching at times, and hard and fast at other times. We are given the impression that Glenn Gould is telling us a story. The result is very satisfying.

But be warned. This is not Bach as it was intented to be. Lets forget that this is played on a piano for a minute. Glenn Gould's interpretation of the Goldberg Variations can shock some purists. First, like I said before, it is played extremely fast at times. I doubt this is what Bach had in mind. Also, Glenn Gould has this bad habit of putting stacattos everywhere. This is not as annoying as it can be in his interpretation of Bach's Well Tempered Clavier, but still.

Also, another warning for those who do not know of this pianist. Glenn Gould used to sing when he was playing. Not to loud. Just a little hum. But you can hear him on his recordings. If I recall well, he insisted his voice was left on the recordings, because he thought that removing his voice would hurt the quality of the recording.

So anyway, this is still my favourite interpretation of Bach's Goldberg Variations on piano. And it must be the most popular interpretation out there. I still prefer Kenneth Gilbert on the harpsicord, but it is definitely a must-buy if you ask me.

The Stuff of Genius
Glenn Gould had recorded two Goldbergs prior to this release: a digital effort from 1955 and a live Salzburg performance in 1959. Both are stunning, bursting with wit and vivacity - but there is something about his testamentary final version (finished just before his premature death, aged 50) that defeats not only his own efforts but those of every other pianist too. Gould himself was an odd fish, to say the least - he never slept (the Goldbergs were written by Bach for the insomniac Goldberg), ate little and was a chronic hypochondriac. Admirable was his love for animals - he had many dogs throughout his life - and his love of solitude (he conducted almost every relationship through the telephone). Such qualities are very important when considering the unmeasurable profundity of this recording - the love of innocence, the aversion to brutality, the childike playfulness are coloured by a deathly weariness and stoicism (hence the beautiful final aria, transcendentally slow, or the tired stubborness of number 1). This is one of those recordings that demands endless relistening - one discovers new things every time amidst the mass of detail and complexity (the diversity of articulation in number 25, the so-called 'black pearl' variation is a good example). His tone is otherwordly, sometimes akin to the sound of a xylophone, sometimes an organ - the glittering textures of Variation 6 or 13 are wondrous. Bach purists will perhaps hate this disc, but wrongly - it is a marvellous realisation of the score combined with a highly original personal vision. Brendel chides Gould for his Bach playing, on the grounds that he fails to bring out the composer's intentions. Well, listen to Brendel's feeble recording of the first two books of Liszt Annees de Pelerinage - as far from the pyrotechnics and thunderous sonorities of the score as one could possibly imagine. Take no notice of these critics - this is surely one of the finest recordings in the entire catalogue, a true marvel of human achievment. It is complex, beautiful and relentlessly profound.

Slower, But Nicer
My discovery of Glenn Gould was a bit later, and much more irregular, than most classical music listeners. I was curious as to what could motivate Dr. Lechter, and his creator Thomas Harris, to such devotion.

The first purchased was the Sony 1955 edition, and I listened to it constantly while reading, working on the computer, or even taking a nap.

A few months later I ordered the 1982 recording and was astonished at the difference. The later recording had a much slower pace and seemed much more reflective to my un-tutored ear. I was so surprised I went out and purchased two other recordings: one by Chen Pi-hsien, on piano; and Anthony Newman, on harpsichord. There is a strange difference in the Pi-hsien recording to my un-educated ear; as if she doesn't strike the keys with the same power, and sharpness as Gould. The Newman quickly becomes boring due to the inflexability of that instument, though I presume it is closer to the original clavier for which the Variations were written.

Over the last year or so, I have given both Gould versions to friends, as well as bullying others to purchase it.

Try to listen to both variations of Gould's Goldberg Variations, and see which you prefer. While first impressions may remain strongest, and I still prefer Gould to others, I found a slightly more pleasant shift in timing in the later version.