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Bach: Goldberg Variations | 
 enlarge | Creators: J.s. Bach, Simone Dinnerstein
Label: Telarc
Category: Music
List Price: $17.98
Buy New: $12.97
You Save: $5.01 (28%)
New (33) Used (10) from $8.50
Rating:  49 reviews
Sales Rank: 2995
Media: Audio CD
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: August 28, 2007
Shipping: Eligible for Super Saver Shipping
Availability: Usually ships in 24 hours
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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 | | • | Variation 16 - Canone alla Quinta | | • | 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 - Quodilbet | | • | Aria |
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| Editorial Reviews:
Amazon.com
This is destined to be one of the best-remembered and significant classical releases of 2007. Simone (pronounced "See-mo-nuh") Dinnerstein has recently been attracting lots of media attention, from Oprah's magazine to The New York Times. Within a classical-music circuit increasingly unwilling to take artistic risks, hers has been the rare success story. The 30-something pianist (a former student of Peter Serkin), backing herself, wowed critics with some notable concerts and eventually secured the support of a major label to release a self-produced recording Dinnerstein had made in March 2005. This Telarc account of the Goldberg Variations thus marks her solo debut CD (following some earlier collaborations with cellist Zuill Bailey on the Delos label). For once, the publicity is trying to keep up with the musical achievement--rather than the other way around. Dinnerstein's seriousness of purpose is immediately obvious from her choice of the Bach masterpiece to make her mark. With the specter of Glenn Gould's own epoch-making 1955 debut playing the same work—not to mention a vast catalog of competing interpretations—Dinnerstein is nothing if not bold. But what's really extraordinary here is the liberating sense she conveys of its not having all been said before—without resorting to tiresome idiosyncrasies to stand apart from the crowd. Her remarkably deliberate way with the opening aria is unusual, to be sure. But it establishes the stakes for what will follow, where Dinnerstein's thoughtfulness and spectacular clarity seem to discover new facets at every turn. Her pianism embraces a prismatic array of touches, whether the feathery lightness of Variation 5, the burbling rhythms of Variation 14, or the tragic weight of the "black pearl" Variation 25. The cumulative effect is exhilarating, intensely moving, and an affirmation of the Goldbergs' infinite variety. --Thomas May
Album Description
Dinnerstein's Goldberg Variations was recorded in the neoclassic auditorium of the Academy of Arts and Letters in New York in March 2005. The piano she plays, a 1903 Hamburg Steinway model D concert grand, was originally owned by the town council of Hull, in Northeast England. During World War II, Hull was extensively bombed and the town hall in which the piano was housed was severely damaged. The piano, however, survived intact and was used in a series of concerts after the war to restore Hull's spirit. In 2002, it was restored by Klavierhaus in New York City, in time to be used at the re-opening of the World Trade Center's Winter Garden, playing the same role as it had in Hull over fifty years earlier.
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| Customer Reviews: Read 44 more reviews...
 goldberg varations, landowska September 30, 2008
0 out of 1 found this review helpful
i ordered landowska, u sent me the pretty simone. i returned it to u. u sent it back to me. i sent it back to u. u sent it back to me. i gave up.landowska is the point, not the pretty simone tinkling the ivories on a PIANO.it is all about the harpsichord. wake up.
 Beauty of Steinway in 1903 September 21, 2008
0 out of 2 found this review helpful
Her performance is pleasant as the body is caressed. Not only pleasant, but the 14th and the 20th variation are aggressive. She has technique because she can neatly play the technical 20th, 26th, 29th and 30th variation. The 13th variation is the longest (5:15). The 25th variation is 4:20. The performance time of all is 78:20. However, because all the repetitions are done except the 25th variation, 78 minutes is not necessarily too long. There are a lot of tune with a quick tempos, too. After all the opening aria is the longest (5:39). Steinway Model D made in Hamburg in 1903.
Simone Dinnerstein plays Bach's Goldberg Variations June 4, 2008
1 out of 3 found this review helpful
Bach: Goldberg Variations. If you've ever questioned the value of owning different interpretations of the same musical work, just listen to this interpretations and compare it to that of Gould, or Landowsa, or anyone else. The artist, of course, makes a great difference. And this artist is one of the greats. Among the great interpretations of this work I find that hers resonates with me personally. This is intimate and sensitive. A Bach keyboard piece sounding romantic? That's how this interpretation strikes me. Whatever the details, it has affected the several people I have shared it with, and all agree that it is exceptional. You will think so too.
this is a fantastic recording May 27, 2008
2 out of 5 found this review helpful
i have to start by saying that i'm pretty sure this is my first amazon review ever. years of using amazon, years of reading reviews here. but this is the first time i've been moved to contribute a review. and it's not just because this is a wonderful recording (although it certainly is a wonderful recording). it's also to help any fellow shoppers here by balancing out the nonsense with some hopefully useful comments.
first of all, this is nothing like glenn gould. if you worship at the altar of glenn gould, it's very unlikely that you will enjoy this CD. if you think glenn gould's version of the goldberg variations is the "one true version" then you are missing the point and nothing in an amazon review can possibly persuade you otherwise.
but if you are open to new possibilities, if you are open to experiencing an amazing piece of music through a different lens, if you think there is no correct answer to the question "what is the most perfect way to play the goldberg variations?" you may love this CD.
the artist brings a very different reading to this music. it's piano based, rather than harpsichord music played on a piano. and to my ears, that makes it a much more enjoyable listen.
i would also just say that it is amazing and fantastic that a young woman from brooklyn recorded a version of the aria from the goldberg variations in the year 2007 that gave a 250 year old piece of music one of it's most fantastic interpretations ever. that blows my mind every time i hear it.
in short, listen to the aria, buy this CD, ignore the nonsense and posturing in these reviews. you won't regret it.
(p.s. anyone who is whining about "marketing" and "oprah" is betraying their own prejudices. i saw no marketing for this album, and was completely unaware that she appeared on oprah until i read it here. that makes no difference. the album is fantastic on it's own merits. grow up.)
I suppose that in some way.......... May 26, 2008
3 out of 4 found this review helpful
....that this piece shall always remind me of the scene in "Silence of the Lambs" where Dr. Lechter is listening to the Glenn Gould recording of it in his jail cell just before all hell breaks loose. Of course, many consider the Gould version definitive; it is fabulous, but I contend that we will never hear definitive until we hear Bach play it Up Yonder. Bach's mind worked in ways that only God can comprehend...the music sometimes sounds simple, but... Then, there's the question of what instrument will Bach play it on. Discussions of Bach are endless, which gives rise to my own theory that God created him so that the writing of Heaven's music could be delegated to a mortal man....
...Which brings us to Miss Dinnerstein, and the recording at hand. She has picked one of many possible interpretations; who can say she's wrong? [Only Bach could--see above]. She takes it slowly, and thoughtfully, giving us all the repeats, though she has plenty of energy when a particular variation calls for it. OK, that makes for a long recording. So what? This is Bach we're talking about; there are no precise rules. Having chosen a particular tack, she follows it superbly. Of course, the technical aspects of the record are perfect...Telarc.
Miss Dinnerstein is a very pretty girl, just starting her career. Beauty should be irrelevant in discussion of a classical musician, no matter how relevant it is for a pop singer, or an Indy 500 driver. Still, good looks never hurt marketing, and never will. You may not like her interpretation of the "Goldberg Variations", and that's OK. Bach represents perfection; all we mortals can do is grasp.
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