Goldberg-Variationen: Variatio 27. Canone alla Nona
Goldberg-Variationen: Variatio 28
Goldberg-Variationen: Variatio 29
Goldberg-Variationen: Variatio 30
Goldberg-Variationen: Aria da Capo
Daniel Barenboim is at his most convincing in the contemplative variations, probing Variation 25's extraordinary harmonies for all their worth without letting things sag. But the work's lighter, more skittish moments get s... more »omberly recast under Barenboim's well-meaning, yet heavy, humorless hands. --Jed Distler« less
Daniel Barenboim is at his most convincing in the contemplative variations, probing Variation 25's extraordinary harmonies for all their worth without letting things sag. But the work's lighter, more skittish moments get somberly recast under Barenboim's well-meaning, yet heavy, humorless hands. --Jed Distler
"Heavy and humorless? Listen again, Jed Distler. Slow, yes, but never heavy -- rather, tender and considered. The slower tempi may be unsettling for the first few movements, but after the listener adjusts to the new pace, the untraditional tempi allow the listener to hear the impact of each note. With Barenboim's respectful and affectionate interpretation, I became aware of new subtleties and beauty in the Variations that were never apparent to me when listening to other musicians gleefully crash through them (although of course it was always fun)."
A thoughtful if somewhat long-winded interpretation.
Goldberg lover | 02/02/1999
(3 out of 5 stars)
"Barenboim plays the variations thoughtfully and with plenty of ornamentation to satisfy most purists, but his insistence on observing all repeats and his slower-than-usual tempi make this a real time committment for the listener and at times may cause drowsiness. The live Erato recording lets in more coughing and crowd noise than we have come to expect from most of today's live concert recordings. Also the pedal has a distinct squeak, audible through headphones. Despite these drawbacks, this is a good 3rd choice (after Gould 1955 and 1981) for those who like their Goldbergs on piano."
Brilliant Performance
Amittai F. Aviram | Columbia, SC USA | 07/08/2003
(5 out of 5 stars)
"Aside from this recording of the Goldberg Variations, I have those of Andras Schiff, Rosalyn Turek, and Glen Gould (both early and late). These are all excellent performances, but Barenboim's is my favorite: thoughtful, passionate, sensitive, delightful, and masterful. The lilting Variation 7 (Tempo di Giga) and the final Reprise of the Aria are especially magnificent. I suspect that some other reviewers may take Glen Gould as the standard, but this is unfortunate in my view. By contrast to Gould's rushed and sometimes mechanical interpretations, I found this recording of Barenboim's live performance in Buenos Aires to be worth hearing over and over again. It is one of a handful of my favorite recordings of any music altogether -- a real triumph."
"It's undeniable the impressive grow up process of Daniel Barenboim in his double facet: interpreter and conductor. Despite the facts there have been many similar cases: Edwin Fisher, Paul Badura Skoda, Philipe Entremont, Geza Anda and Murray Perahia, to name just a few. Barenboim has conviction, personality and eloquence. His incursions through almost thirty years in the orchestral direction, have enriched his vision in both directions.
I mean, these Goldberg sound far beyond the limits of the piano, and the peculiar fact he returns to his beloved homeland in Colon Theater Buenos Aires. I do not share totally certain passages and the whole conception of this sublime work, but I have to admit they have its own specific weight.