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J.S. Bach: Goldberg Variations BWV 988 | 
| Artist: Simone Dinnerstein
Label: Telarc
Category: Music
List Price: £14.99
Buy New: £12.69
You Save: £2.30 (15%)
New (16) Used (3) from £8.66
Rating:  4 reviews
Sales Rank: 29565
Media: Audio CD
Running Time: 78
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 4.9 x 0.4
MPN: 80692
UPC: 089408069222
EAN: 0089408069222
ASIN: B000SQJ2X2
Release Date: September 24, 2007
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 10 to 12 days
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| Tracks:
| • | Aria | | • | Variation 1 | | • | Variation 2 | | • | Variation 3: Canone All'Unisono | | • | Variation 4 | | • | Variation 5 | | • | Variation 6: Canone Alla Seconda | | • | Variation 7 | | • | Variation 8 | | • | Variation 9: Canone Alla Terza | | • | Variation 10: Fughetta | | • | Variation 11 | | • | Variation 12: Canone Alla Quarta | | • | Variation 13 | | • | Variation 14 | | • | Variation 15: Canone Alla Quinta | | • | Variation 16 | | • | Variation 17 | | • | Variation 18: Canone Alla Sesta | | • | Variation 19 | | • | Variation 20 | | • | Variation 21: Canone Alla Settima | | • | Variation 22 | | • | Variation 23 | | • | Variation 24: Canone All'Ottava | | • | Variation 25 | | • | Variation 26 | | • | Variation 27: Canone Alla Nona | | • | Variation 28 | | • | Variation 29 | | • | Variation 30: Quodlibet | | • | Aria |
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| Customer Reviews:
The best of the old and the new come together in harmony September 9, 2008
1 out of 1 found this review helpful
Simone Dinnerstein's disc of the Goldberg Variations is currently the 12th addition to my accumulation on CD of that work, ranging from cembalo versions by such distinguished performers as Koopman, Hantai, Leonhardt and Jarrett to piano versions by Perahia, Feltsman and Hewitt. Since 13 is supposed to be an unlucky number it may be the last - for a while, at least - and as such I have to say: what a way to end that particular part of my Bach collection!
Dinnerstein's interpretation is at the same time technically flawless and emotionally all-encompassing to a degree I cannot remember having encountered before in more than 25 years as an aficionado of classical music. It will be a cold and snowy day in Hell before I give up my disc of Gould's 1982 recording, but while that interpretation sets a standard of its own I always felt a slightly more romantic aproach to this timeless piece might do wonders; and how happy I am to find a pianist to provide the perfect balanced example. In many reviews Dinnerstein's playing is primarily compared to Perahia, whom - as a Mozart performer par excelence - I percieve as more classicistic (i.e. light-footed, elegant) to the touch. To my ear there is a clearer line to Dinnerstein's late great compatriot Rosalyn Tureck (1913-2003), who in her best live performances achieved an unequalled meditative quality in the slower variations. Like Tureck Dinnerstein also prefers to play most - or all - of the repetitions, and while this practice makes the variations a very long piece indeed, it will work wonders when you succeed in turning every repeat into an elaboration, as is the case with this recording. Though the Aria da Capo is technically supposed to be played more or less exactly like the opening Aria, this way of doing things always leaves me unsatisfied (shame on you Andras Schiff!); it cries to heaven that something must have happened after all the battles and reconciliations of 80 tumultuous minutes of music. To think that this work was once believed to have been composed as a lullaby for an insomniac count! Gould provides a very beautiful answer to this problem, but his transfigured, weary-of-life Aria da Capo allows no interpretation but that this is unquestionably the end (maybe of all things), whereas Dinnerstein miraculously manages to make this solemn conclusion sound like a possible new beginning.
I could drone on for hours praising the merits of this outstanding recording, but fortunately others have already said most of what so richly deserves to be said. While I may not want to take my argument to the extreme of claiming this the only recording of this - the ultimate keyboard work of all times - you will ever need to hear, it certainly ticks more boxes on the score card than almost any other recording it has been my pleasure/duty to peruse. Put this CD in your player and take in the 5 minutes 40 seconds of the first Aria; if you are not hooked by then you have the least addictive personality in existence. Run for Pope!
More than warmly recommended, needless to say.
Quite Possibly The Most Compelling Recent Recording of the Bach Goldberg Variations August 9, 2008
1 out of 1 found this review helpful
The daughter and niece of two of our finest American painters, young Julliard-trained pianist Simone Dinnerstein has demonstrated that she, like her famous relatives, is an important artist of note in this spellbinding recording of J. S. Bach's "Goldberg Variations". Truly it is among the most compelling recordings of these pieces that I've heard, in which Dinnerstein emphasizes the cantabile qualities of these short pieces. It may also be among the most idiosyncratic, especially when one compares and contrasts her expressive style of playing, with, for example, Andras Schiff's relatively recent critically acclaimed ECM recording from a live concert performance back in 2001, in Basel, Switzerland. Dinnerstein's playing is, in many respects, far more expressive, especially in her slow interpretation of the opening Aria (Schiff's interpretation takes into account period instrument practice; consequently, his tempi tend to be far more brisk than Dinnerstein's.).
The story behind this recording is indeed a most memorable one. Dinnerstein was unable to find a label willing to support her, and decided, on her own, to have it recorded, at her expense, two years ago at the American Academy of Arts and Letters auditorium in Washington Heights, New York, NY (The Steinway grand piano she used for this recording, has a memorable story of its own, having survived intact, frequent bombings by Nazi German Luftwaffe bombers of the northeastern English town of Hull, and then, in 2002, was restored in time to be used at the re-opening of the World Trade Center's Winter Garden.). Eventually Telarc agreed to represent her and to release this recording; a recording that may be the most impressive recording debut by a classical musician this year, or rather, in any given year over the past half century. Without question, I concur with many who have already acquired this fine recording for their collections; I strongly urge those who haven't that they should, if only to hear a compelling interpretation by a young, truly gifted artist, who has a bright future awaiting her (In the interest of full disclosure, one of her cousins was a high school classmate of mine, but I would give a glowing recommendation of this recording even if I wasn't aware of her kinship with my old friend.).
Different (and that's why it's so good...)! November 29, 2007
2 out of 2 found this review helpful
It's hard not to write a review of any recording of the Goldbergs without mentioning the Canadian elephant in the room... -- but, surely, that's not really the point to any recording is it: to compare it to others, whilst ignoring its own, unique attributes?
I was fortunate enough to hear Simone Dinnerstein at the Wigmore, on her UK debut, play the variations; and, therefore, in a way, the CD could be said to be something of a disappointment: failing to catch the breadth of her performance (and the amount of time it took: all repeats intact; and much thought before she touched the keys; not to mention occasional pauses to catch her breath between individual variations...); and the sheer (almost religious) involvement and astonishment of the educated audience....
But -- having said all that -- this is a great reminder of an original interpretation; and one which shrugs off any history as if to say: "Oh look, a new book of piano music: I wonder what it will sound like when I play it?" In fact, live: this approach seemed to be present throughout -- repeats not simply being repeated, but _reinterpreted_, based on what had been 'learned' the first time through. Each variation is fresh; a new discovery; a step on the road to something bigger.... (And the pianistic technique is also varied throughout....)
This is, after all, surely (arguably), Bach's masterpiece: summing up all that _he_ had learned through composition and performance; and yet, simultaneously, managing to hide the awesome technical perfection behind music that -- Dinnerstein reminds us -- can still sound new, fresh, modern even, and relevant, today.
 Loving and inspired by turn September 3, 2007
8 out of 8 found this review helpful
Simone (c-MO-na) Dinnerstein, a Julliard graduate that studied with Peter Serkin, has been hailed widely for outstanding techinque, warmth and fluidity in her playing. She was subject of a Harris Goldsmith feature in American Record Guide and has been compared to a young Argerich. She plays widely around New York and elsewhere on the East Coast and scheduled her London debut this year.
Her Goldberg variations are beautifully done and exceptionally thoughtful, there is no question about that. She plays with authority and technique second to none. Eschewing the staccato affect of Glenn Gould, her style is far more akin to Murray Perhaih and others that seek more transluscent legato.
This is not to say she cannot pound the keyboard or turn a phrase with the best of them -- listen to Variation 16 for that. Compared to the last recording of the Goldbergs I heard, by Perhaia, hers is warmer, more humane and perhaps less driven. But she is not afraid to change course in mid-stream -- listen to her abrupt tempo change in Variation 19 and the hop to return to rapidity in Variation 20.
Certainly this is outstanding pianism captured in an elegant sound field and presented for the listener is a 5 X 5 X 5 setting that is up to current DDD standards. I'd like to hear more of the train of thought or stream of consciousness cerebral approach I've heard in Bach from Richter and Elena Kuschnerova but I wouldn't suggest this is a bad performance lacking those qualities. For me, it's not the pinnacle; still, it's a beautifully retouched scan of Bach's masterpiece delivered on a 1903 instrument that sounds like it was made yesterday.
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