Search - Matt Haimovitz, Douglas McNabney, Jonathan Crow :: Goldberg Variations

Goldberg Variations
Matt Haimovitz, Douglas McNabney, Jonathan Crow
Goldberg Variations
Genre: Classical
 
  •  Track Listings (32) - Disc #1

Widely popularized by Glenn Gould's recording of 1955, J. S. Bach s monumental Goldberg Variations has become a musical shrine where transcriptions are offered for almost any instrument or combination, from solo guitar to ...  more »

     
?

Larger Image

CD Details

All Artists: Matt Haimovitz, Douglas McNabney, Jonathan Crow
Title: Goldberg Variations
Members Wishing: 0
Total Copies: 0
Label: Oxingale Records
Original Release Date: 1/1/2008
Re-Release Date: 9/16/2008
Genre: Classical
Styles: Chamber Music, Historical Periods, Baroque (c.1600-1750), Classical (c.1770-1830)
Number of Discs: 1
SwapaCD Credits: 1
UPC: 800658201428

Synopsis

Product Description
Widely popularized by Glenn Gould's recording of 1955, J. S. Bach s monumental Goldberg Variations has become a musical shrine where transcriptions are offered for almost any instrument or combination, from solo guitar to saxophone quartet. Each brings a new perspective to the piece, endlessly enriching our experience and enjoyment of Bach's inventiveness, and giving credence to the German maxim Niemand kann Bach kaputt macht (nobody can ruin Bach!). Bach's music is so strong, it easily transcends time, styles, and instrumental idioms. In this recording, we play the string trio version, dedicated to Gould, by renowned violinist Dmitri Sitkovetsky.

The Goldberg s 30 variations, framed by the Aria theme, are not elaborations on a tune as one normally would expect, but are variations on the bass line or harmonic progression that underlies the Aria theme. Nine interspersed canons lie at the heart of the work...
 

CD Reviews

Live concert
J. Eckstein | Florece, MA | 04/18/2009
(5 out of 5 stars)

"I just heard this done live as part of the Music at Deerfield series in Northampton, MA. There was a brief introductory discussion before the performance. The performance was wonderful. As they pointed out, the keyboard version is written for two, three or four "voices". By separating this this into three string instruments, you really get to see the musical interplay. This works particularly well with the canon movements, but is wonderful throughout. It is played without a real break, so it becomes an 80 minute chamber piece- a lot longer than most string trios. It doesn't seem that long, though as the music keeps moving. They seem more to be following the sensibility of the 1981 Glenn Gould recording in the pacing and rhythmic movement. A real treat!"