Goldberg

The Goldberg Variations are a pinnacle of Bach’s art. Conceived for harpsichord, the work has been transcribed for quite different instruments. . . Richard Boothby’s version for his own consort of viols, Fretwork, is arguably the most unusual, in that it opts for a soundworld that looks even further back in time. Part of the justification for such a setting must be Bach’s own liking for viola da gamba, already then old-fashioned…. Boothby’s setting is dexterously divided between various combinations of the treble, tenor and bass viols, and he achieved some magical effects, notably (…) in variations of gossamer passagework.

David Geringas heard about the existence of the New Goldberg Variations in 1997, shortly after the first performance, and integrated into his project ‘Bach Plus’ excerpts from John Corigliano’s Fancy on a Bach Air as an introduction to Bach’s Cello Suite Nr. 1. In 2014, while planning a CD with works by American composers, he remembered about the New Goldberg Variations, and in 2015 he performed the piece, which is exactly the length a one half of a recital, in Parma, Italy, together with the pianist Ian Fountain, who is also the pianist on this recording. One year later, while being interviewed for his 70th birthday, he concretized the idea for this CD.

For those uninitiated into the world of Baroque or harpsichord music, be forewarned: this budget-priced trio of CDs from Archiv is a hefty amount of Bach on the harpsichord. These are reissues of recordings of Bach's greatest keyboard works made in the early '80s by Trevor Pinnock. While you may be able to listen to nearly four straight hours of Bach, some may find it hard to listen to the harpsichord for that long.

Stu Goldberg - Fancy Glance
EAC+LOG+CUE | FLAC: 213 MB | Full Artwork: 25 MB | 5% Recovery Info
Label/Cat#: Inakustik "Compact Disc Reference Edition" # inak 8614 CD
Genre: Jazz | Style: Jazz-Funk | Country/Year: Germany 1979 / 1980's

Pianist/composer Stu Goldberg performed alongside some of the most daring artists of the mid-'70s fusion era as part of John McLaughlin's Mahavishnu Orchestra and later embarked on a successful solo career that included film and TV scores as well as albums. Born in Malden, MA, and raised in Seattle, WA, the pianist began his career at a young age, notably performing as a keyboard soloist at the Monterey Jazz Festival at age 17. He then went on to graduate magna cum laude from the University of Utah in composition and piano. Following graduation he joined the Mahavishnu Orchestra in the mid-'70s and remained a member for five years, during which time he performed alongside such legendary fusionists as Al DiMeola, Freddie Hubbard, Wayne Shorter, Billy Cobham, Jack Bruce, Larry Coryell, Alphonse Mouzon, and more…

Stone Records is delighted to announce the release of its first organ recital disc, the much-loved Goldberg Variations, performed by internationally-renowned organist Robert Costin. The organ used for this performance is that of Pembroke College, Cambridge, a modern reconstruction of a period instrument dating from 1708 that has been widely used for Bach performances.

Since its first authorized edition in 1741 or 1742, the Goldberg is indispensable to any serious keyboard professionals, and with the dawn of the recording age, the Goldberg has naturally attracted a league of pianists who wish to put their personal statements onto this symbolic work. Pianists who acquired a legacy in part through their championship in this work include such Bach interpreters as Glenn Gould (Sony, 1955), Evgeny Koroliov (Hänssler, 1999), Maria Tipo (EMI, 1986) and the late Rosalyn Tureck (DGG, 1985), whose interpretation of the Goldberg she claimed was inspired by a visionary communication between the pianist and a higher being. To date, the Goldberg has likewise drawn the interests of a multitude of arrangers who have re-worked arrangements based on the original.

“An ode to silence” is how harpsichordist Jean Rondeau has described Bach’s Goldberg Variations. “I feel they were written for silence, in the sense that they take the place of silence,” he says. “All Bach is there in the Goldberg Variations … all music is there … and I will no doubt spend my life working on them.” To prepare his interpretation he consulted an original printed edition of the work, containing Bach’s own markings and corrections. “Through delving into this precious musicological source, I was able to make what I felt to be the most authentic choices.” Rondeau performs the set of variations in its complete form, with the indicated repeats and with judicious insertion of moments of silence.

That's all that needs to be said! You should buy this album if you like bach, if you like brass, if you like piano. This is a magnificant performance of an excellent transcription. It explores the rich warm textures of the Canadian Brass without compromising the original ideas that bach wrote. It was recorded in a huge church, so at the very end the last full chord seems to drift upward until it completely fades! If you like classical transcriptions and arrangements for brass quintet, you more than likely have a lot of exciting, fast-paced albums in your collection. For a change of pace, buy this album - you won't be disappointed.