Track Listing

1. Aria
2. Variation 1
3. Variation 2
4. Variation 3
5. Variation 4
6. Variation 5
7. Variation 6
8. Variation 7
9. Variation 8
10. Variation 9
11. Variation 10
12. Variation 11
13. Variation 12
14. Variation 13
15. Variation 14
16. Variation 15
17. Variation 16
18. Variation 17
19. Variation 18
20. Variation 19
21. Variation 20
22. Variation 21
23. Variation 22
24. Variation 23
25. Variation 24
26. Variation 25
27. Variation 26
28. Variation 27
29. Variation 28
30. Variation 29
31. Variation 30
32. Aria da capo

Product Details

• Amazon Sales Rank: #60493 in Music
• Released on: 2000-01-11
• Number of discs: 1

Customer Reviews

A Refreshing Approach to Bach's Goldberg Variations
Having really enjoyed the Canadian Brass' Grammy nominated CD, "Take the A Train" I decided to check them out from a classical perspective. Bach's Goldberg Variations as played on piano or Harpsicord can sound a little 'dry' to some of us. This Brass Quintet rendition, though, is something else. You wouldn't think these same guys who play Ellington so marvelously would be capable of such clean and precision performance in the Bach style. This performance sets a whole new reference for these Goldberg Variations. If you like Bach, you'll love this CD.

A good alternative if you're bored by the keyboard version
The Canadian Brass took on this Bach staple in 1999, some years after the peak of their popularity. The music transcribes well to brass band, which is no surprise since much of J.S. Bach's output -- the Goldberg Variations and Art of the Fugue in particular -- have been rewritten for oddlot instrumentation. I've heard the Goldbergs played on piano, clavichord, organ, harpsichord, string quintet, string orchestra, cello and orchestra and, now, brass band.

As a former cornet player, I appreciate the sounds that come from this version. I couldn't expect the counterpoint of a group including a tuba to be as precise as Glenn Gould made it in his 1981 piano version, and it wasn't. Still, this is a pleasant rendering of the music that maintains Bach's resilient temperament even though the recording substantially fails to capture Gould's exemplary dotted rhythms and note-spinning.

Part of this is attributable to the approach taken by the Canadians, who adopt a far more legato approach than the heavily accented technique of the other Canadian, Gould. This version is also more legato than versions I've heard by the high priestess of Bach, the late Rosalyn Turek.

Does it work? Yes, I think so. The music captures Bach's spirit and provides enough depth of presentation and clarity to move even the most old fashioned listener. Aside from James Galway's flute revision of Vivaldi's "Four Seasons" from the 1970s, I think this is one of the better re-orchestrations of a famous piece of music I've come across.

While I would have loved to have heard this in a more pointed, closely articulated reading, I will continue to enjoy this CD in the forseeable future. I have frankly become bored with piano versions of this music, none of which have maintained my interest for more than a half-dozen movements.

I watched the 1996 film "The English Patient" the other day and was excited when the nurse began playing the opening Aria and Variation 1 on a poorly-tuned but wonderful sounding piano in a bombed-out Italian villa. I imagine I'd have lost interest if it had gone on through Variation 3, though.

No so with this recording, which is clarity-impaired but still good enough to hear all the parts of Bach's counterpoint. I'm sure I'll enjoy this one for a while. If you sample it, you may as well.

Almost Perfect
My only criticism is that the phrasing is a bit lacking in articulation, giving the music a somewhat "breathless" quality. Yet in all other respects, the precision playing of the group and near-perfect acoustics yield a captivating and most enjoyable album. Highly recommended!