Bach: Goldberg Variations

Good version of the Goldberg Variations

Simone Dinnerstein, a former student of the great Peter Serkin, actually produced this recording herself. Given the very different responses to this recording, I had better make certain things clear at the outset. I am not a pianist. I am not trained in music. I have never listened to Glenn Gould's or Wanda Landowska's versions of the Goldberg Variations. I am listening to this as a musical amateur, trying to get a sense of Dinnerstein's performance. That said, this is a satisfying recording to me.

Some reactions to various of the works on this CD (there is an aria and 30 variations). The aria seems to be played well and cleanly. There is a melancholy air to this piece. The is an affecting although not necessarily a scintillating version; it is thoughtful and played at a sober pace.

Variation # 1: Dinnerstein plays this energetically, playing well off of the aria, providing considerable contrast in dynamics. This is a crisper piece, standing in nice distinction to the aria.

Variation # 2: This is more reflective than # 1. There is a contemplative mood suffusing this variation. It seems nicely musical to me.

Variation # 5: Up tempo! Quite a change of pace from Variation # 4. To use a term that I'm sure I should not, this is a "toe tapper." It is played in animated fashion; I enjoyed this variation greatly.

Variation # 16: This starts boldly with a lot of volume. But it is musical at that. There is a nice change in dynamics in comparison with Variation # 15, which is almost elegiac..

Then, Variation # 25, called, as I understand it, "The Black Pearl." This is a more thoughtful, reflective piece. To my ears, it is played affectingly. I cannot compare this with other versions, since this is the first time that I have listened to this variation, but on its own terms it is quite enjoyable. There is a lugubrious tonality to this piece.

Variation # 30: Light and reflective. There is no melancholy here!

30 variations on a theme is rather exotic music for me to evaluate. I do not pretend to be an expert. Nonetheless, for me as a listener, this version by Dinnerstein works pretty well. I can't say that I would rate this as a great version, but it is certainly pretty solid from my perspective.
October 25, 2008

goldberg varations, landowska

i ordered landowska, u sent me the pretty simone. i returned it to u. u sent it back to me. i sent it back to u. u sent it back to me. i gave up.landowska is the point, not the pretty simone tinkling the ivories on a PIANO.it is all about the harpsichord. wake up. September 30, 2008

Beauty of Steinway in 1903

Her performance is pleasant as the body is caressed. Not only pleasant, but the 14th and the 20th variation are aggressive. She has technique because she can neatly play the technical 20th, 26th, 29th and 30th variation. The 13th variation is the longest (5:15). The 25th variation is 4:20. The performance time of all is 78:20. However, because all the repetitions are done except the 25th variation, 78 minutes is not necessarily too long. There are a lot of tune with a quick tempos, too. After all the opening aria is the longest (5:39). Steinway Model D made in Hamburg in 1903. September 21, 2008

Simone Dinnerstein plays Bach's Goldberg Variations

Bach: Goldberg Variations. If you've ever questioned the value of owning different interpretations of the same musical work, just listen to this interpretations and compare it to that of Gould, or Landowsa, or anyone else. The artist, of course, makes a great difference. And this artist is one of the greats. Among the great interpretations of this work I find that hers resonates with me personally. This is intimate and sensitive. A Bach keyboard piece sounding romantic? That's how this interpretation strikes me. Whatever the details, it has affected the several people I have shared it with, and all agree that it is exceptional. You will think so too. June 4, 2008

this is a fantastic recording

i have to start by saying that i'm pretty sure this is my first amazon review ever. years of using amazon, years of reading reviews here. but this is the first time i've been moved to contribute a review. and it's not just because this is a wonderful recording (although it certainly is a wonderful recording). it's also to help any fellow shoppers here by balancing out the nonsense with some hopefully useful comments.

first of all, this is nothing like glenn gould. if you worship at the altar of glenn gould, it's very unlikely that you will enjoy this CD. if you think glenn gould's version of the goldberg variations is the "one true version" then you are missing the point and nothing in an amazon review can possibly persuade you otherwise.

but if you are open to new possibilities, if you are open to experiencing an amazing piece of music through a different lens, if you think there is no correct answer to the question "what is the most perfect way to play the goldberg variations?" you may love this CD.

the artist brings a very different reading to this music. it's piano based, rather than harpsichord music played on a piano. and to my ears, that makes it a much more enjoyable listen.

i would also just say that it is amazing and fantastic that a young woman from brooklyn recorded a version of the aria from the goldberg variations in the year 2007 that gave a 250 year old piece of music one of it's most fantastic interpretations ever. that blows my mind every time i hear it.

in short, listen to the aria, buy this CD, ignore the nonsense and posturing in these reviews. you won't regret it.

(p.s. anyone who is whining about "marketing" and "oprah" is betraying their own prejudices. i saw no marketing for this album, and was completely unaware that she appeared on oprah until i read it here. that makes no difference. the album is fantastic on it's own merits. grow up.) May 27, 2008

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