2007 has been a banner year for Goldbergs; no less than five recorded versions of the piece had appeared by the end of July, including a digitally reinterpreted incarnation of Glenn Gould's famous 1955 recording and Wilhelm Middelschulte's bizarre, psychedelic 1924 transcription of the work for organ. In the face of such circumstances, no one would blame music critics for throwing up their hands and saying something like "enough already!" Nevertheless, thankfully the Goldberg Variations is not that kind of a piece, its appeal is both immutable and universal.
This interpretation is a perfect match to Savall's equally beautiful Art of the Fugue. Here you find even more variety in the blend of instruments. I am not going to have only one version of this music and my first recommendation is Münchinger's more emotional recording on Decca. When it comes to colourful instrumentation, however, Savall is the winner, and the direction & playing needs no justification, it is simply wonderful, even if I doubt this folk music style reflects the spirit of the baroque era.
The young pianist who blew everyone away at the GRAMMYs recorded Bach's Goldberg Variations as label debut. The Korean-born, US-trained pianist known simply as Ji is very much a classical musician for the 21st century. Having won the New York Philharmonic’s Young Artists Competition at the age of just 10, he went on to study at the prestigious Juilliard School. Described by the Chicago Tribune as “a gifted, sensitive young pianist who is clearly going places,” he has chosen Bach’s sublime Goldberg Variations for his debut on Warner Classics. “Classical music is never going away,” he says, “We live in very modern world, and it’s our job to live in the moment, but it’s also our job to respect and preserve tradition.”
Tilman Hoppstock is one of Germany’s most famous guitar players and the work of Bach stands in his focus for a long time: His research of over 30 years culminated in the publication of two book titles and his musicological edition is considered today a standard work by nearly all guitarists who occupy themselves with Bach. In 2013 he earned the doctor’s degree for his research on Bach. The Six Suites for solo cello are nowadays performed on a wide range of instruments and Tilman Hoppstock has adapted the Suites Nos. 1, 2 and 5 for his instrument the guitar. His large knowledge of the contrapunctal technique of Bach combined with his stupendous virtuosity on the guitar resulted in a recording of great musicality and sensibility. © Christophorus
Leading early music expert Winsome Evans presents the final chapter in her ground-breaking project to transcribe and record Bach’s solo instrumental works for the harpsichord, with the Six Cello Suites and Partita for Solo Flute. Evans’ project, some 30 years in the making, is based on evidence that Bach himself played his solo instrumental works on the keyboard – including the statement of a former student that Bach often played the solo violin and cello works ‘on the clavier, adding as much in the nature of harmony as he found necessary’. The harmonies added by Evans to the solo works are inspired by methods from Bach’s own time.
The very short list of credits on this Warner Classics release includes Russian American cellist Nina Kotova and producer Adam Abeshouse, who delivers a very closely miked sound in the frequently used Performing Arts Recital Hall of Purchase College on Long Island, New York. But perhaps the uncredited star on this set of Bach's Six Suites for solo cello is Kotova's 1679 Stradivarius instrument, which Kotova exploits to the maximum. Her reading is one of those in the line coming down from Pablo Casals, with a high degree of expressiveness generated through variations in tempo and articulation. Hear any of the concluding gigues, which come off like late Romantic witches' dances, for an example, or the increasingly unexpected relationships among the Gavotte sections in the Suite No. 6 in D major, BWV 1012 (CD 2, track 17).