Wanda Landowska brought the Goldbergs out of hiding on the harpsichord in the '40s and Glenn Gould made them a bonafide hit on the piano in the '50s, opening the floodgates for keyboardists of all stripes. So, in one of his earlier recorded voyages into the classical world, Keith Jarrett is up against an imposing legacy as he tackles what has become the most famous set of variations in Western music. First, he chooses to play them on a double-manual harpsichord – which makes the task somewhat easier, avoiding the finger-tangling cross hand difficulties that can trip up a piano performance.
Jarrett plays brilliantly.
Personally, I love Jarrett's playing; he is one of the most sensitive and lyrical of contemporary pianists, and his long illness has deprived us of what would surely have been a larger body of baroque music recordings. So make your own mind up.
I highly recommend this collection to lovers of Bach, Jarrett and the diabolical harpsichord.
Jazz pianist Keith Jarrett has recorded Bach before, on both piano and harpsichord. His interpretations are not jazz versions of Bach but are played straight. In this case you might say relatively straight, for Bach's sonatas for violin and keyboard, BWV 1014-1019, were written for a harpsichord and are generally played that way; somehow the ear is jarred more by the piano here than in Bach's solo keyboard music (which Jarrett has also recorded). Jarrett fans will find the evidence of his characteristic style not in rhythmic inflections toward jazz but in his way of sustaining notes, which is never excessive.
Two of vibraphonist Gary Burton's albums from 1969-1970 are reissued in full on this single CD. Burton teams up with pianist Keith Jarrett for five numbers (including four of Jarrett's originals) in 1970, using a quintet that also features guitarist Sam Brown, bassist Steve Swallow, and drummer Bill Goodwin. The other session has more of an avant-country flavor, with Burton, Swallow, and Goodwin joined by guitarist Jerry Hahn and violinist Richard Greene; Michael Gibbs and Swallow contributed most of the obscurities. Burton was at his most explorative during this period, which is why he can be considered one of the pioneers of fusion (although his music never really fit into a tight category). This is excellent music that mostly still sounds fresh.
This is an enjoyable, somehow spontaneous recording of several of Bach's works for a pair of harpsichords, with the great Japanese Bach conductor Masaaki Suzuki joined by his son Masato. The high spirits of the elder Suzuki here could be chalked up to any combination of several factors. One might be freedom from the rigors of his complete Bach cantata cycle, just recently completed when this album appeared in 2014.
Listening to this irresistibly joyful and magnificently musical set of Bach's Brandenburg Concertos and Orchestral Suites, one is immediately struck by two thoughts. First, Masaaki Suzuki and the Bach Collegium Japan have been wasting their time concentrating on Bach's dour cantatas, and second, Bach himself was wasting his time writing his melancholy church music when he could have been composing infinitely more cheerful secular music. While Suzuki and his crew have turned in superlatively performed, if spectacularly severe recording of the cantatas, they sound just as virtuosic and vastly more comfortable here.
"The trees are coming into leaf/Like something almost being said." Taking a cue from these lines of Philip Larkin, pianist Simone Dinnerstein casts her album of the music of J.S. Bach and Franz Schubert in poetic terms. Her understanding of the composers is summed up in her own words: "The music of Bach and Schubert share a distinctive quality, as if wordless voices were singing textless melodies." Of course, Bach and Schubert were masters of setting texts to profoundly expressive music, so it is fruitful to look for the lyrical impulse in their keyboard works and appropriate to find songful interpretations. Yet Dinnerstein doesn't merely serve up rhapsodic renditions or treat the music as some kind of tuneful vehicle for idiosyncratic or personal reveries. Her playing is quite in character for both composers, and her treatment of the material is far from self-indulgent. Indeed, counterpoint and harmony are carefully balanced against the upper lines, and Dinnerstein is completely in control of the inner parts in Bach's partitas and the rhythmic subtleties of Schubert impromptus. Dinnerstein's playing is well-rounded and skillful, and the care she lavishes on the smallest details of execution may well remind listeners of Glenn Gould (without his attendant eccentricities) or Angela Hewitt.
Für den kaiserlichen Gesandten in Dresden, Hermann Graf Keyserlingk, sollen die Goldberg-Variationen entstanden sein. Der Graf habe, wie Bach-Biograph Nikolaus Forkel schreibt, die Musik bei Bach bestellt in der Hoffnung, „daß er dadurch in seinen schlaflosen Nächten ein wenig aufgeheitert werden könnte.“ Diese Bearbeitung der Goldberg-Variationen für zwei Gamben setzt die Reihe der schon bestehenden Transkriptionen fort.