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Goldberg Variations BWV 988
Played by Vladimir Feltsman
Discussions |
ASP-1 |
Archive Recordings: Season of 2003 [ASP-1] |
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Goldberg Variations BWV 988 |
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Vladimir Feltsman (Piano) |
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Aspen Music Festival |
Aug 16, 2003 |
CD / TT: 76:13 |
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Recorded at Harris Concert Hall, Aspen Music Festival, Aspen, Colorado, USA.
2nd recording of Goldberg Variations BWV 988 by V. Feltsman.
Source WorldCat Libraries |
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Feltsmanīs Goldbergs |
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Thomas Radleff wrote (November 19, 2003):
[To Roy Johansen & Donald Satz] I agree that crossing hands is not enough. To me, this trick is serving as a kind of ear-opener, to get you off this track I-know-what-is-coming-next. Itīs good listening to it from time to time, but if you listen to it too often, youīll "know" it already.
Don, you are right: the upper keys of Feltsmanīs piano sound like Papagenoīs Glockenspiel. And they have almost the same effect.
But the principal qualities of his recording are this "irresistible playful" characteristics, another surprise at every corner, and enjoying the play. Prolonging a triller, little stops here and there, sometimes he even seems to admit that he went to fast - itīs like watching a child playing, or a kitten. Personally, I like his twinkle, his humour, when he spreads a portion of virtuosity; just the right extent of idleness, and still it is charming. Maybe thatīs why it is more Feltsman than anyone else. Certainly not a humble servant in Herrn Bachīs service.
In his Art of Fugue, he sometimes even adds some notes when the Cp. is finished, as a sort of personal signature, or to keep you awake.
Hereīs some more recordings with vivid repeats:
Barbara Harbach,
Sergio Vartolo, harpsichords.
Ekaterina Dershavina, piano.
Gaede Trio, strings. |
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Roy Johansen wrote (November 19, 2003):
[To Thomas Radleff] Yes, what Feltsman was doing certainly raised my eyebrows and made me sit up straight the first time I heard it. This is what's so great about living now rather than 300 years ago: having access to any number of performances; we are really a spoilt lot, you know. And thanks for the recommendations; Dershavina is another favorite of mine; she's playing with such ease! I also like Harbach, and like you say, she does interesting things with the repeats. --But the playing isn't quite as playful and relaxed as, say, Schiff. Interesting temperament, though, whatever it is! Vartolo is too rhytmically sloppy for my taste. I'm sorry to dismiss it like that, but his playing becomes, to me, tiresome and irritating after a while. And finally, I have tried to get hold of a copy of the Gaede Trio for a long time, but it keeps eluding me! (Does anybody happen to know of a current source?) |
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Donald Satz wrote (November 19, 2003):
[To Thomas Radleff] Although I don't care for Feltsman's repeats in higher registers, there is much to enjoy in his performances. His 15th Variation is devastating, and the 'Black Pearl' is as incisive as any other version I've ever heard. Anyone else have favorite variations from Feltsman's recording? |
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Bradley Lehman wrote (November 19, 2003):
[To Donald Satz] Interesting description; I haven't heard the recording. Don, can you explain what Feltsman does, musically, to make those bits "devastating" and "incisive"?
(I have to admit, "incisive" is a goal I've never had myself for that variation 25, or for any other manner of pearl...so I'm curious what he does to make it sound good that way.) |
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