Search - Johann Sebastian Bach, Ragna Schirmer :: Bach: Goldberg Variations

A great recording!

Kai Adomeit | Germany | 07/21/2002

(5 out of 5 stars)

"I simply fell in love to this wonderful Goldberg-Recording! One should not compare this with Gould, because it's totally different..... It's peaceful, free-minded and in any single note completely relaxed and laid-back. But not at all boring, it's just that this record simply gives us back Bach in all his majesty. The sound is marvellous and the Interpretation places Ragna Schirmer (listen to her new Haydn-CD on Berlin Classics, it's a Wonder!) among the Gods of the Piano. Highest recommendations!!"

Well, Knock Me Over!

J Scott Morrison | Middlebury VT, USA | 02/04/2010

(5 out of 5 stars)

"I stumbled on this recording quite by accident, but since I collect Goldbergs like a bellybutton collects lint, I went for it. I'd never heard of Ragna Schirmer -- still haven't, for that matter: who is she? -- but from the first note I knew that this Goldbergs was something special. There are a number of things that I can sort out that make it so. First, there is the recorded sound. This is a marvelous piano, marvelously regulated and tuned -- I'd be willing to bet it's a Hamburg Steinway -- that is recorded with just the right amount of room sound. It really does sound like you're in the room with it.



But more important is Schirmer's approach to the music. From the Aria one gets the impression that this will be a gentle, non-egotistical, completely alluring performance. But one has to wait until one gets into the Variations to see if that carries through. And from Variation I I knew that it would. There is something so soothing and yet exciting -- I know, that's an oxymoron, but it really does soothe while it evokes crisp musical interest -- that one is aware of being excited in a quiet way. Schirmer has an absolutely even touch and control of dynamics. Her ornaments are not flashy, do not call attention to themselves, but seem completely apt. All repeats are taken and ornaments (and sometimes voicings) are varied subtly. Use of pedal is minimal and yet there is finger-legato aplenty, expertly applied. In Gramophone I read a review that glancingly refers to this set as pedantic. Really? I am convinced that this is not pedantic but rather subtle playing and I would prefer to hear this one to, say, Feltsman or, gasp, Perahia.



Well, I've gushed enough. You don't have to take my word for it, but for your Goldberg collectors out there, take a chance on this one.



Now, I've got to research what else this young woman has recorded.



Scott Morrison"