…than Bach’s Goldberg Variations?
Who’s playing?
Could you post an ABC?
that’s tough to beat, for sure.
- Glenn Gould, of course. (Both recordings.)
- Keith Jarrett, harpsichord.
Here’s the whole deal in midi:
Hmmm…if I remember my Thomas Harris correctly, Dale and Hannibal Lector share more than an occupation…they also have similar taste in music.
–James
in that genre, there’s nothing better (at least IMHO 
). Bach is my favorite composer.
Yes, I like to listen to the Goldberg Variations with a dish of fava beans and a nice chiati.
To get my vote it would have to be Rosalyn Tureck. Hers is the version I always come back to.
Preach, brother, preach!
1 bottle red wine + 1 uninterrupted session listening = altered states (in a good way, not the funky, monkey way. That’s a different formula…)
However, 1 score + 1 uninterrupted session listening = despair of ever really playing a truly clean line.
Gould has gone through enough “fashion” cycles that I think one can listen to him for his qualities without needing to defend the perceived eccentricities. What’s more puzzling is why the variations are so good, and the WTC so uneven.
- Keith Jarrett, harpsichord.
The appeal of Keith Jarrett usually escapes me. I’d be curious to know what you like about his rendition. I can appreciate his contribution, if not his improvisations/compositions, esp. for bringing the clavichord to the attention of many listeners. That is the instrument on which to learn: after experiencing vibrato on a keyboard, the piano seems like such a mechanical, industrial beast - such a…a machine. Antidote? Listen to Gould again.
The appeal of Keith Jarrett usually escapes me. I’d be curious to know what you like about his rendition. I can appreciate his contribution, if not his improvisations/compositions, esp. for bringing the clavichord to the attention of many listeners. > That > is the instrument on which to learn: after experiencing vibrato on a keyboard, the piano seems like such a mechanical, industrial beast - such a…a > machine> . Antidote? Listen to Gould again.
Well, I was listening to the Keith Jarrett version when I started this thread. I do like it, although the Glenn Gould 1982 recording is the one I go back to.
I’ve been a fan of Keith Jarrett’s work for nearly 30 years. I’m not sure I can explain the appeal. I think he’s got one of the best left hands in the business. In the improvisational work, which is actually what I appreciate the most, there’s a kind of blend of gospel, classical, and jazz elements that really works for me.
Aaaaaaaaaaaah!!! But which recording of Gould? Hmmmm!!! The original 1955 “turborcharged” version that listeners love and Bach aficionados love to hate or the slightly more subdued 1981 version?
The Keith Jarrett version is also quite nice, but I also recently heard a recording of Goldberg by Pierre Hantai that was made a couple of years ago and that just might be my new favorite.
PS–Those of you who dig Bach MUST check out Christopher Hogwood’s album “The Secret Bach,” (Metronome MET CD 1056) a recording of lesser-known fugues, menuets, and partitas by Bach intended for (and performed on) the clavichord. Listening to Bach almost makes me have a little faith in humanity again…
D’oh!! I wanted to talk about Pierre Hantaï, but M. Pitchfork was quicker!
My own personnal favorite would probably be the Bach’s lute pieces by Hopkinson Smith.
Or the A minor solo flute partita. Does anybody know any good version? The partition fascinates me for years, but I have never heard any player who would approach my dreams… 
dale, glenn’s goldberg variations of 1983 is my all time favorite classical piece of music.
same here izz, bach is the best.
Rolf Harris singing “Someone’s Pinched me Winkles”
More smiles.
Dale, your new avatar rocks!!! 
Want to come over Friday? We’re having some friends for dinner. 
–James
Don’t forget Wanda Landowska.
There’s also a terrific organ recording by Alain Gillou on the now defunct Dorian Recordings:http://www.dorian.com/store/main.mvc?Screen=PROD&Product_Code=DOR-90110&Category_Code=I-ORGAN
I don’t know if you can still order from them, but you might find a copy elsewhere.
People: That stunning opening Aria upon which the Goldbergs is based can EASILY be played on a D whistle! You need to half hole a couple of notes, but since the piece is slow, this is not hard. Sounds terrific on mid-size whistles. I play this on every whistle I make-- I figure it can’t hurt to have Bach pass through it at least once in it’s lifetime. It’s a good test of the entire range of a whistle too.