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Goldberg Variations BWV 988
Played by Jenö Jandó
Discussions
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New Goldbergs |
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Barry Murray wrote (January 6, 2005):
In the January 2005 Naxos newsletter, a new release is announced:
BACH, J.S.: Goldberg Variations, BWV 988
Goldberg Variations, BWV 988
Jeno Jando, piano
Cat. 8.557268
I'm not a great fan of Bach played on piano, but I thought this might be of interest to others. |
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David Glenn Lebut Jr. wrote (January 6, 2005):
[To Barry Murray] Nor am I, and especially not the Goldbergs or Klavieruebung, zweiter Theil (the Italian Concerto and French Overture). These works were written for two-manual Harpsichord, *not* one-manual Piano. Besides, there are places in the Goldbergs where it calls for crossing, not hands, but whole Keyboards. |
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John Pike wrote (January 6, 2005):
[To David Glenn Lebut Jr.] I have Jeno Jando's complete Beethoven Piano sonatas. He is a fine pianist and I suspect his Bach will be good as well. |
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Stephen Benson wrote (January 6, 2005):
[To John Pike] I find Jando to be maddeningly inconsistent. A case in point is his recording of the Pathetique. (I know this is a BACH list, but since Beethoven has been mentioned....) Of the 60-plus recordings I have of that sonata, his first movement is probably my favorite -- great energy and clarity and unrestrained excitement. Every time I hear it, I react the same way: "That was fun! Let's go back and do it again!" -- and invariably I do. It contains one of those miraculous moments that appear from time to time in a recording. In the marvelous run that cascades into m.195, Jandó accentuates the landing at the bottom of what is a long sinuous, linear descent. He comes tumbling down the chute at full speed and lands solidly on his feet running with a seemingly much more clearly defined sense of purpose than anybody else. It takes my breath away! Unfortunately, the wooden Adagio which follows is completely lacking in charm or feeling and is, for me, among the worst of the recordings.
I will be curious to hear his Goldbergs. He has technique to spare, and I would hope that the greater maturity offered by the intervening years since the Beethoven was issued would result in slow movements of
greater affect. |
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Anthony Olszowy wrote (January 6, 2005):
Jene Jando
While we are on the topic of Jena Jando's Bach interpretations, could I hear some comments from mavens out there in regard to his WTC I and II on Naxos? I've always been somewhat shy to admit that I rather enjoy them--I enjoy Angela Hewitt's pianisme more in these works (at least WTC I, which I have), but I still listen to Jando's WTC with pleasure. Am I (relatively) alone in this? |
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David Glenn Lebut Jr. wrote (January 7, 2005):
[To John Pike] Do you agree or disagree with my statement, though? |
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Thomas Braatz wrote (January 7, 2005):
Ferruccio Busoni completed an piano arrangement(!) of the 'Goldberg Variations' in 1914 which was published
as part of the Bach-Busoni Gesammelte Ausgabe [Leipzig, 1920].
Has anyone ever heard a performance or have a recording of this? Just what did he add to Bach's work, the bass line in octaves, Lisztian embellishments ala Horowitz, etc.?
Also what is known about this recent curious arrangement:
William Thomas McKinley's 'Goldberg Variations' for 2 flutes, piccolo and alto flute with orchestra (1996)? |
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John Pike wrote (January 7, 2005):
[To David Glenn Lebut Jr.] There is a lot of Bach that I love on piano as well as Harpsichord. The Italian concerto and the Goldberg variations are pieces that I think sound particularly good on piano, (notwithstanding the technical demands of playing the Goldbergs on one manual). I love, for example, Rosalyn Tureck, Angela Hewitt and András Schiff in these works. |
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John Hartford wrote (January 6, 2005):
[To Thomas Braatz] Busoni thought he could greatly improve Bach's Goldberg variations. He started by cutting 10 variations out altogether. Although he understood Bach's design in the variations he felt he could 'save' the work with judicious cuts, rewriting and a new grouping for the set. All of which he did.
A good description of all this can be found in "Reinterpreting Bach. . . " by Martin Zenck in the Cambridge Companion to Bach. |
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Thomas Braatz wrote (January 8, 2005):
[To John Hartford] Thanks, John, for the reference and the information. I found the book which I had overlooked and on pp. 234-235 there was an example of the final aria with 'hymn-like' double octaves in the base and with the melody line already transposed down an octave jumping down another octave and back up again.
Interesting also is Busoni's reasoning that the canon at the ninth (variation 27) "comes at the wrong moment and is omitted." |
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Dave Harman wrote (January 8, 2005):
[To John Hartford] I have the recording.
It's on Connoicseur Society CD 4212 performed by David Buechner The CD is titled " Arrangements and Transcriptions of Johann Sebastian Bach
Also included is Sonata Brevis, "Widmung" and Three Organ Chorale Preludes.
If I had the score I could probable tell what the differences are between Bach's origional and Busoni's transcription. |
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