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Bach : Goldberg Variations (1955) Import

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Détails sur le produit

  • Compositeur: Johann Sebastian Bach
  • CD (27 octobre 1992)
  • Nombre de disques: 1
  • Format : Import
  • Label: Sony Classical
  • ASIN : B0000028NE
  • Autres versions : CD
  • Moyenne des commentaires client : 4.8 étoiles sur 5 4 commentaires client
  • Classement des meilleures ventes d'Amazon: 79.702 en Musique (Voir les 100 premiers en Musique)
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Liste des titres

Disque : 1

  1. Goldberg Variations: Aria
  2. Goldberg Variations: Variation 1
  3. Goldberg Variations: Variation 2
  4. Goldberg Variations: Variation 3
  5. Goldberg Variations: Variation 4
  6. Goldberg Variations: Variation 5
  7. Goldberg Variations: Variation 6
  8. Goldberg Variations: Variation 7
  9. Goldberg Variations: Variation 8
  10. Goldberg Variations: Variation 9
  11. Goldberg Variations: Variation 10
  12. Goldberg Variations: Variation 11
  13. Goldberg Variations: Variation 12
  14. Goldberg Variations: Variation 13
  15. Goldberg Variations: Variation 14
  16. Goldberg Variations: Variation 15
  17. Goldberg Variations: Variation 16
  18. Goldberg Variations: Variation 17
  19. Goldberg Variations: Variation 18
  20. Goldberg Variations: Variation 19
  21. Goldberg Variations: Variation 20
  22. Goldberg Variations: Variation 21
  23. Goldberg Variations: Variation 22
  24. Goldberg Variations: Variation 23
  25. Goldberg Variations: Variation 24
  26. Goldberg Variations: Variation 25
  27. Goldberg Variations: Variation 26
  28. Goldberg Variations: Variation 27
  29. Goldberg Variations: Variation 28
  30. Goldberg Variations: Variation 29
  31. Goldberg Variations: Variation 30
  32. Goldberg Variations: Aria da capo
  33. Fugue In F-Sharp Minor
  34. Fugue In E Major

Descriptions du produit

GOULD GLENN


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Par Un client le 8 août 2003
Format: CD
On comprend qu'en ce qui concerne les Variations Goldberg, il y ait eu avant Gould, et puis après !
Il y a tout d'abord ce jeu electrique, ce détachement de chaque voix qui fait que le contrepoint devient limpide, malgré la frénésie qui s'empare parfois des tempos.
Une maîtrise technique hallucinante, un swing inhabituel dans ce genre de répertoire qui, nullement malmené, en ressort rafraichi.
On est en droit de ne pas choisir entre cette jeune et impétueuse première version de 55 et la plus maitrisée (est-ce possible ?), plus sage aussi, version de 1981.
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Le plus célèbre de tous les enregistrements des Variations Goldberg, est sans doute celui des débuts de Glenn Gould en 1955.
Sa virtuosité technique est stupéfiante.
Question : Est ce que l'enregistrement de 1955 est meilleur que sa reprise plus rigoureuse en 1981 ?
De nombreux critiques préfèrent l'enregistrement de 1955 pour sa seule virtuosité technique, alors que l'enregistrement de 1981 est considéré comme plus mûr.

Pour moi, il faut posséder les deux pour les raisons évoquées plus haut.

Toutefois, je vous conseil aussi l'enregistrement réalisé à Paris, en novembre 1933, par la grande Wanda Landowska, mais cette fois au clavecin.
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Oui, bien sur, il y a mieux pour les "puristes". Par exemple la dernière version de 81, mais moi ce que j' ai adoré
c'est la maestria et la folie de ce génie aux doigts de feux.
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Voici une version moderne au piano des Variations Goldberg (initialement prévues pour le clavein). Cette interprétation de Glenn Gould a fait couler beaucoup d'encre. Un peu trop précise et véloce, je lui préfère la version de 1981, beaucoup plus paisible.
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Amazon.com: HASH(0x907f63d8) étoiles sur 5 30 commentaires
41 internautes sur 43 ont trouvé ce commentaire utile 
HASH(0x9082342c) étoiles sur 5 A State of Wonder, Indeed. 8 avril 2006
Par Paul K. Stadden - Publié sur Amazon.com
Format: CD
There are three people who are responsible for the "resurrection" of the Goldberg variations, at least as far as the general publicis concerned: Wanda Landoska, Rosalyn Tureck, and Glenn Gould. Without them, the Goldberg Variations certainly would not get the attention they do, and may have ended up a curiosity music students discover on budget labels by performers seeking overblown and romantic interpetations or sterile "period correct" (in other words, uninformed) performances that leave listeners yawning. Instead, thanks to those three, the Goldberg is as well know even to the casual music listener as Beethoven's Pathetique or Mozart's Rondo a la Turka are.

Now, I certainly believe that Landowska's rendition is the most well informed, and even the most revolutionary in terms of true period correctness (she was the first to record it for the harpsichord and with correct baroque ornamentation), and she had a musicality that made the listener believe they were listening to an orchestra instead of just a single keyboardist. Tureck's interpretation is so dancelike and pleasant. It sounds so free and happy, I get the image that there are dancers on the keys of her piano. She was really the one that showed that the Goldberg Variations could be performed on a piano without reverting to the overly romanticized versions that had dominated up to that time.

It was Landowska and Tureck two that allowed for what is arguably the most famous interpretation of the Goldbergs: Glenn Gould's 1955 recording. Inspired by Landowska's passion for early music done right, and Tureck's justified piano performance that stood out head and shoulders above the others, Gould combined the best elements of the two and added his own rhythmic and dynamic perfection to create a masterpiece of a recording. His tempi were (in general) nearly twice as fast as most performers', indeed as his own 1981 recording, which, in places, I prefer (refer to variations 1,5,10,14,16, and 29), yet he is always in control and never sounds like he's straining to get to the next note. His staccato and light touch give it wonderful bell-like clarity, and it's the closest you'll get to a harpsichord recording on a piano. Yes, his 1981 recording is more mature, but it's a difference in interpretation than technical prowess, and I think the choice between the two comes down to mood, and even, as mentioned above, to the individual variations.

This recording was his first studio recording, presenting all the fire and passion of a twenty three year old showing the world that he's got something to prove. An odd choice for a first recording, most pianists would probably be forced into some half-hearted renditions of Chopin or Mozart, but Gould knew what he was doing. He must have known that the time was right for a Bach interpretation that paid homage to the greatness achieved in the past as well as one that strode confidently into the future, a future where (in a philosophy like Landowska's) old music was no longer quaint but revered and modern music didn't seek to "revolutionize" but instead sought to build upon. This was an increasingly prevalent attitude in the 1950's and 1960's thanks to people like Landowska, Harnoncourt, and, of course, Gould. We can see this philosophy in Durufle, De Falla (one of the first twentieth century composers to write for the harpsichord), and later Stravinsky. Gould's Goldbergs played no small part in Baroque's new birth. Do yourself a favor and get both of Gould's Goldbergs, Wanda Landowska's Goldbergs, and perhaps Koroliov's Goldbergs or Tatiana Nikolayeva's Goldbergs. You'll be quite glad you did.
30 internautes sur 32 ont trouvé ce commentaire utile 
HASH(0x90823480) étoiles sur 5 Do you want the Fugues too? 25 mars 2004
Par Mr. Contrarian - Publié sur Amazon.com
Format: CD
I love both of Glenn Gould's versions of Goldberg Variations, the first in 1955 (this one) made him famous, while the last one in 1981 was his swan song. The 1981 version definitely has the fuller modern sound and Gould goes deeper, yet 1955 is historic, the sound is still excellent, and Gould's technique is just amazing! However, this particular packaging includes more than Goldberg Variations. Two fugues from Well Tempered Clavier are added to the end. Good music definitely, but personally, I just want the Goldberg Variations with no additives. If you don't object to the extras, then by all means get this CD. But if you are like me, look for the older "Great Performances" version by CBS/Columbia. It has only Goldberg Variations, with no fugues.
If you are new to Glenn Gould, just remember that even now, twenty years after his death, his work remains controversial. Everyone agrees that he was a masterful pianist, one of the best ever, but many people just don't like his eccentric approach to Bach. They find the fast parts too fast, and slow is too slow. In the 1981 version, many object to Gould's tuneless humming in the background. Eccentric? You bet. But nobody else could even get away with it. "That nut is a genius," as Szell was once heard to quip.
Anyone who finds Gould too eccentric, or perverse, should try Angela Hewitt or Rosalyn Tureck. I love their versions of Goldberg Variations too! Rosalyn Tureck spent her entire career of about 60 years studying Bach, and recorded Goldberg Variations at least three times. All are excellent. Angela Hewitt is just masterful, and plays with sheer devotion.
16 internautes sur 18 ont trouvé ce commentaire utile 
HASH(0x908238b8) étoiles sur 5 The Marlon Brando of piano! 16 février 2006
Par Hiram Gòmez Pardo Venezuela - Publié sur Amazon.com
Format: CD
These Goldberg formally inaugurated the auspicious debut of this well famed pianist. Until that time Bach was played with such impeccable austerity and intellectuality that literally became a shock to listen a very young man -23- challenging all the musical conventionalisms and old precepts which turned around the conceptual steadiness and serious formalism at the moment to play Bach at the piano.

Gould made an incisive breakthrough and showed that the formality and the Dionysian spirit may habit together, without those bitter presumptions or austere poses.

He impregnated the Goldberg variations with Mediterranean jubilee, effusiveness and radiant greenness. And this posture influenced a whole generation in all fields.

So those Goldberg carry on its own trademark. A historical reference by all accounts.

Indispensable collection piece.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x90823c84) étoiles sur 5 It Doesn't Get Any Better Than This 4 juillet 2002
Par the Chad - Publié sur Amazon.com
Format: CD
This cd is considered to be the best version of the Goldberg Variations. There never has been (or maybe never will be)a person who could better translate Bach than Glenn Gould. Glenn was a musical genius; he did things on the piano that even awed his peers. Nobody had better mechanics on the piano than this gentleman. Even outside of Bach he was incredible with the classic period of music. He did struggle a bit though with the romantic era; an era that involved more feeling and less structure than the Bach time period.
I find it hard to fault this performance; Gould the perfectionist was not satisfied with it and would later return to rerecord it. He felt and I agree with him that on some of the parts he played to fast (maybe from the pure enthusiasm of making a first record). One other thing about this album and Gould in general was that he hummed. You will hear him hum on this album, the whole album. But it doesn't really distract you from enjoying the music.
This album is great to play while you are relaxing on a sunny afternoon or having casual conversation and want nice background music. There are some Variations that are played hard, some fast; but the majority is mid tempo and relaxing. Buy this album! Then buy his latter Goldberg Variations and see for yourself why critics debate over which is better.
For the record the 2nd Goldberg Variations was released in 81. He died shortly afterwards in 82. It was his last recording.
10 internautes sur 11 ont trouvé ce commentaire utile 
HASH(0x90823d68) étoiles sur 5 I have to agree with Gould himself -- get the full set on "A State of Wonder" 21 août 2011
Par T. Fisher - Publié sur Amazon.com
Format: CD
I share Glenn Gould's own strong dislike for this set of the Goldberg Variations. Gould explains in detail his problems with this recording on the third, bonus interview disc included on A State of Wonder: The Complete Goldberg Variations (1955 & 1981).

He summed it up well in his own criticism of the seminal Variation 25 on this disc, by saying it sounds like he was playing a Chopin Nocturne. He found the 1955 performance "wears its heart on it sleeve" and has too many clever emotional cues delivered by the pianist.

I also find that the use of the sustain pedal in the 1955 gives a muddy and indistinct sound, especially in the fast runs -- Gould did not use the sustain pedal at all in the 1981, just the soft pedal. This gives more of a clipped, harpsichord-type sound that I greatly preferred (and I'm not a huge harpsichord fan in general).

But most of all, I'd just ask why get this version alone, when "A State of Wonder" has both the 1955 and 1981, and a nearly hour-long interview with Gould himself about the recordings?

I would warmly recommend that full set over this disc alone. Even if you love the 1955, you still get it in the other set -- along with some bonus 1955 outtakes not featured here. You also get the opportunity to examine the changing perspective of a brilliant artist over time. That offers a much fuller experience than the 1955 recordings alone as featured here.
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