Building a Collection #20
Goldberg Variations, BWV 988
By Johann Sebastian Bach
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"Bach's Goldberg Variations caused me misery – but I still can't get enough"
-pianist Jeremy Denk
Johann Sebastian Bach (b. 1685 – d. 1750), considered by many to be THE greatest composer of all time, was a German composer of the baroque era. In his day, Bach was known more for being an organist than a composer. But Bach was extremely innovative and pioneering in his compositions, especially in his use of counterpoint (in music, counterpoint is how two or more musical lines interact when they are harmonically dependent on each other, but independent in melody and rhythm). The structure, logic, and complexity in Bach’s music reflect the rigor and ethic of his work. Bach wrote Masses, motets, cantatas, concertos, religious and sacred music, organ works, sinfonias, and sonatas for individual and mixed instruments. He was a prodigious composer, and although Bach’s music fell out of favor and out of use for many, many years, thank goodness his genius was recognized once again particularly in the twentieth century.
The Goldberg Variations
Bach’s Goldberg Variations, written for keyboard in approximately 1741, consist of an aria and 30 variations. Although there is some debate on the topic, it is thought the work was commissioned by J.G. Goldberg. Goldberg’s job was to perform for Count Keyserkingk. Keyserkingk, an insomniac, needed music to put him to sleep. Some accounts say that Bach was actually Goldberg’s teacher, and thus the variations would certainly have been well within the technical abilities of Goldberg. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting the tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. Other scholars have contended the story is entirely fiction. So we will probably never know for sure.
The piece presents daunting challenges to the performer, but the brilliant and complex colors of the work create an enjoyable listening experience. It is also thought Bach used as inspiration Domenico Scarlatti’s Essercizi (exercises) for keyboard from 1739, itself only for accomplished musicians. What you hear as a result with the Goldberg Variations is a piece of timeless beauty and sophistication. Its apparent simplicity belies great complexity, and musicians for centuries have been engaged by the warmth, grace, and sublime intricacy of the work. It is noble yet calm, heartfelt yet playful, diverse yet unified as a whole. It is certainly one of Bach’s greatest compositions, and many consider it the greatest work ever composed for solo piano.
After the opening aria, one of the most iconic passages in all music, the variations don’t really modify the aria’s melody, but rather follow the the aria’s bass line and chord progression. Every third variation is a canon (a compositional technique where a melody line is repeated within the movement, something akin to singing Row, Row, Row Your Boat in a round), and each canon is presented at a specific interval above the original variation up until the canon at the ninth. Furthermore, Bach uses a pattern where the variations just after the canons are similar to works of varying genres, for example he uses Baroque dances, a fughetta, and a French overture. Then, the second variations after each canon are known as arabesques, which are variations in a lively tempo which often require nimble hand and finger work. All the variations except three (15, 21, 25) are in G major, while those three are in G minor. At the end is the Aria da Capo e fine, where the opening aria is repeated to end the set.
The 30 variations are divided into 10 groups of three. Pianist Andras Schiff notes that within each group of three, one variation represents the “physical”, one represents the “emotional”, and one represents the “intellectual”. Whether this interpretation of the structure holds true is rather academic, and listeners have to decide for themselves. Or simply just enjoy the music.
Harpsichord vs. Piano
On the title page of the work, Bach specified that the work was intended for harpsichord. It is indeed still widely performed on harpsichord, though there are also a great number of performances on the piano. Which one is correct is largely down to preference, as Bach would have been somewhat unfamiliar with the piano, and there is no evidence he would have approved or disapproved of it.
The piano and harpsichord have different sound qualities, and so the piece may present different challenges for the performer when it comes to the sound that he or she wants to create. Purists insist that it should be played on harpsichord, but the contrapuntal lines and overlapping layers are easier to be heard on the piano in my opinion. Even so, a very skilled harpsichordist can create a brilliant canvas of color which is quite appealing.
The popularity of The Goldberg Variations has led to the transcription of the music for other instruments and groups of instruments. There are arrangements for string orchestra, string trio, string quartet, string septet, saxophone ensembles, and guitar among others. I maintain that the work sounds best on piano or harpsichord, and personally I have a very slight preference for the piano in terms of the clarity and coloristic possibilities.
Recordings of The Goldberg Variations
Every pianist that comes along seems to believe they need to record the Goldbergs to somehow prove their talent or worth, and as a consequence there are loads of recordings out there of varying quality. Historically we have Bach trailblazing pianists such as Wanda Landowska, Rosalyn Tureck, and Maria Yudina, artists that left us insightful recordings of the Goldbergs in the early to mid-20th century. Yudina especially paved the way for Glenn Gould, widely considered to be the greatest Bach keyboardist of all-time. Gould’s 1955 recording of the Goldbergs remains one of the greatest classical recordings ever, being bookended by his quite different and rethought 1981 recording made shortly before his death. Whether you like Gould’s approach to the work or not, comparison to his recordings is inevitable and understandable given their reference status.
When it comes to The Goldberg Variations, it is not enough to have the technical proficiency to play all the notes. Not being a pianist myself, playing all the notes correctly is impressive enough. But to reach the top of the most recommended recordings of this oft-recorded mountain of a work requires much more. Factors such as tempi, dynamics, amount of pedal used, how notes are phrased, how much the bass line is emphasized, whether each variation is presented as its own work or whether it is of a piece with the entire work, how rhythm is used, whether repeats are taken, and how much embellishment is used by the soloist.
In putting together my list of recommended recordings below I cannot remember a piece of music I have enjoyed hearing repeatedly as much as The Goldberg Variations. It seems the work provides endless depths to explore, and I notice different aspects with each listening. Some of the soloist names on the list below will be no surprise, while other lesser-known artists have emerged from the pack with truly special qualities.
A quick disclaimer to say that I have not chosen either of Glenn Gould’s recordings as the top recommendation. You might question how this is possible, since I included Gould’s recordings of the Goldbergs for the top 50 classical recordings of all-time. The answer is that Gould’s recordings are still landmarks and retain their unique place in the history of classical recordings. However, in terms of making a top recommendation for this masterpiece, I believe Gould’s recordings are generally admired more than loved and therefore neither can be a top recommendation. Others may feel differently, and I respect those opinions. Certainly, no Bach collection could ever be complete without Gould’s recordings, but in my view others have just as much or more to say about the music.
Top Overall Recommendation
This has been one of the most difficult choices I have had to make in the Building a Collection series, but the reality is there are several recordings that could be in this slot. The 2017 recording by the young Italian Beatrice Rana on piano for Warner Classics is at the top of the heap. Rana employs a relatively light touch, and the opening Aria is slower and more expressive than many others. Indeed, the primary strength of this set for me is how Rana emphasizes the dynamic contrasts to a greater extent than most other pianists. There is a sense of spontaneity and for me Rana gets to the emotional core of these variations in a way rarely heard. Rana never rushes while presenting her outstanding lyrical instincts and is especially adept at knowing when to use more volume and when to back off. Make no mistake, there is plenty of wonderfully exciting quick finger work and impressive virtuosity by Rana. But there is a sparkling, gentle quality to the more lyrical passages that is equally impressive and enjoyable.
Listen to how Rana makes the most of variation 7, and with a subtle spring in her step makes it sound like an elegant gigue. Rana then varies her approach, just listen to the staccato she uses in 10. In 12, Rana superbly controls the dynamics, so we notice the buildup and blooming of the sound. In 14, Rana highlights the rhythmic aspect wonderfully. In 24 her approach makes the music sound as though it is the first time I’ve heard it. Revelations abound.
In short, Rana never becomes boring, and it is clear she has deeply considered each variation on its own but has also kept enough of a clear line we can trace throughout the set. This is mature and sensitive artistry which brings individuality but not at the expense of the music. Rana’s approach is nearly the opposite of a mechanical, academic approach sometimes heard from other pianists. The performance moves me in a way no other recording does, and that is why she takes the top spot. Tomorrow it may be another recording, but I believe this one will stand the test of time and remain near the top of what is a very competitive field. Repeats are taken and embellishments are used in some places. The sound is very good. Highly recommended.
Recommended Piano Versions
In my mind, the recording that is perhaps the most similar in approach to Rana is the 2015 Sony release by Russian-German pianist Igor Levit. Levit chooses moderate tempos and makes consistently thoughtful and wise choices throughout the set. By that I mean he varies tempi by variation and uses contrast quite well in terms of phrasing and dynamics. I especially enjoy how transparent the recording is, where the bass line can be heard quite nicely, and how the different voices of the piano are clear. Levit seems to be enjoying himself in this traversal, and he seems to understand where some of Bach’s humor can be injected, but also knows where more weight can be applied. Levit’s technical abilities are simply stunning as well, some of the runs and trills are breathtaking. Still, Levit is no showoff and is always at the service of the music. Variation 9 is presented tenderly, almost like a lullaby, and in a similar way 13 is a bit slower than usual and has a light, reflective quality. Number 14 is impressive but also note how Levit controls the dynamics and tempo. Number 20 is playful, and Levit uses the percussive rhythm to its full advantage in what can be a really tricky variation. Number 25, the so-called “Black Pearl” variation, is dark and slower than some others and Levit truly shines in shading the color throughout. I thoroughly enjoy this recording.
The aforementioned genius Glenn Gould recorded The Goldberg Variations twice on piano, both for CBS/Columbia (Sony). You may be interested in reading one of my previous posts which includes more information about Gould and his Goldberg recordings here, you can copy and paste the link: https://open.substack.com/pub/classicalguy/p/8-js-bach-goldberg-variations-by?r=avz62&utm_campaign=post&utm_medium=web
Both of Gould’s recordings of the Goldberg Variations are indispensable. The 1955 recording clocks in at just a little over 38 minutes, very short for a classical album. One cannot overstate the impact this first recording had, it really shook the music world. Gould’s playing is incredible, sometimes taken at breathless speed, and yet still contains playing of remarkable depth and virtuosity. He chooses not to take any of the repeats, which also contributes to the short playing time. His style here could be said to be very staccato, and he uses no pedal. Clarity seems to be the goal, and he accomplishes that better than anyone on record. But at times you get the sense he wanted to get through it all rather quickly.
The 1981 recording, made just about a year before his death, is quite different. Here he takes a considerably broader (slower) view of things, and takes some (but not all) of the repeats where he chooses, and the timing is a little over 51 minutes. This later version is more nuanced, and even though a bit slower, still displays his mastery of technique and counterpoint. In some ways it is the more satisfying of the two recordings, but they are both astonishing in their own ways. Gould would claim that he didn’t recognize the person that recorded the 1955 version as the same one from 1981. He rather disavowed the earlier recording as immature and impulsive, and said that his younger self was reacting against the pianism in vogue at the time of dragging things out for romantic effect (Gould was averse to many of the more romantic composers, and refused to play many of their works).
Some have criticized Gould’s approach to Bach. For example, the great romantic pianist Earl Wild once said, “Glenn Gould’s Bach playing, with few exceptions, was notoriously egotistical. Sentiment and charm have almost disappeared.” Andras Schiff added that while nobody could approach Gould’s finger work and articulation, “but at the expense of the singing way of playing the piano…Gould himself sings, but the piano never sings.” The latter comment refers to Gould’s habit of humming or singing along with the notes as he played, which is audible on many of his recordings.
Gould’s recordings are rightly revered for the authority and skill with which Bach’s music is dispatched, and for their place in the history of Bach recordings. What Gould misses in the way of feeling, he makes up for in technique and energy. On another note, Gould is rightly criticized in my view for not taking repeats in 1955, and for not taking all the repeats in 1981. But in the final analysis, Gould’s recordings are essential for anyone that wants to appreciate this work.
Another outstanding Bach pianist of our time is American Murray Perahia, and his 2000 recording of The Goldberg Variations on Sony is one of the most consistently satisfying sets on the market. Perahia is more similar to Rana and Levit, in that he takes moderate tempos, uses dynamics and shading to provide contrast, and he never seems rushed. The level of artistry is very high, again at the service of the music. Textures are easy to hear, and the all important bass line is captured marvelously. Perahia is uncanny in his ability to determine what is needed for any given variation, and he can lighten his touch or become more declamatory as the music demands. In this approach, he is equally able to bring out both the lyrical and contrapuntal aspects. Perahia also wears his virtuosity lightly, never getting in the way of things with his own agenda, but showing his considerable chops when required. There is a feeling that Perahia is one of the most “natural” soloists out there when it comes to Bach, such is his understated prowess. Many listeners and critics have even made Perahia their first choice for the Goldbergs, though for me Perahia can occasionally play it too safe. Nothing wrong with that either, especially when it is as close to perfection as Perahia.
A recent 2023 recording by the young Icelandic pianist Víkingur Ólafsson on the Deutsche Grammophon label is also extremely impressive. Ólafsson could be said to come closer to Glenn Gould’s style with Bach, which is to say he takes a cooler or less sentimental approach. I even read a review of this recording which accuses Ólafsson of “plagiarizing” Gould’s 1955 recording, which of course is absurd. Unlike Gould, Ólafsson takes all the repeats but he also provides more contrast than Gould from one variation to the next. Tempi for the faster variations are quick indeed, never breathless, but certainly exhilarating. A few times I felt speeds were pushed a bit hard, but there is no doubting the excitement Ólafsson creates. Ólafsson’s precision is stunning and second only to Gould himself, while Ólafsson produces a sparkling tone that most pianists can only dream about. I was initially worried Ólafsson would use the recording as a showpiece, but as the variations progressed it became clear that he is less concerned with virtuosity than clarity. Embellishments are few, but always feel appropriate, and the counterpoint with the bass line in focus is communicated with utter clarity. So it is true this is a more cerebral account, and Ólafsson doesn’t really develop his own interpretation of the music. Some will be disappointed given Ólafsson’s large presence in the classical music world currently, but the reality is he is simply not a “heart on the sleeve” type of artist. Others will likely feel his approach is exactly what Bach calls for, a cooler and more objective style. Either way, this recording grows on me more each time I listen to it, and there is a lot to admire.
Russian pianist Ekaterina Derzhavina was unknown to me before I embarked on this survey, but what an amazing discovery her recording of The Goldberg Variations has proven to be. Currently serving as a professor at Moscow State Conservatory, Derzhavina has made relatively few recordings. But she recorded The Goldberg Variations in 1994 for the budget label Arte Nova, and it is a joy to hear. Derzhavina takes a lively, precise, and rhythmic approach to the faster variations and alternates that with a more flowing technique in the slower variations. Derzhavina has plenty of technical talent, just sample variation 15 as proof, and she seems in her element with her use of dynamic contrasts within and between variations. While her overall vision is to take fairly quick tempi, there is no loss of sentiment and she does change her approach subtly when needed. The “black pearl” number 25 is quite effective, with Derzhavina elongating the phrases in a sensitive and tender way. She does employ embellishments fairly liberally, but it never feels too much and her ornamentations are tasteful and enjoyable. I find that Derzhavina puts her own stamp on the work, while at the same time giving us a really brilliant reading of Bach’s intentions.
Another Russian pianist, Konstantin Lifschitz, has recorded The Goldberg Variations twice, and it is his first recording at the age of 17 made for Denon that is most recommended here. No doubt Lifschiftz’s youthful energy makes a strong impression, and indeed there is quite a bit of exuberance and joy in his playing. Yet it may be more surprising that Lifschitz is also able to bring a thoughtful and reflective nature to the music when needed. He does reveal a strong sense of structure throughout the variations, and there is a consistent pulse and a coherent vision that comes through well. Yes, it is true that occasionally one might want a bit more restraint shown. But the cumulative effect of Lifschitz’s unabashed youthful confidence and his ability to bring out all the contrapuntal voices in the score brings a lot of listening enjoyment. Lifschitz’s second recording in 2012 on the Orfeo label is also very good, but I prefer the energy and bounce of the first one.
Last but definitely not least in the piano versions is by the legendary Russian pianist Tatiana Nikolayeva. Nikolayeva has an interesting personal story, but it is her recordings of Shostakovich’s piano works, along with her playing of Bach, that she is best remembered for from her career. In particular, her recordings of The Goldberg Variations are justifiably revered for the warmth and humanity infused into her playing. The only issue is her two studio accounts, from 1979 on the Melodiya label and 1992 on the Hyperion label, are probably least recommendable in terms of sound and execution (although both still revelatory and worthwhile). But there are three live accounts in various incarnations, from 1983 on the Classico label (I cannot find this one available anywhere, even on YouTube), from 1986 in London on BBC Legends, and 1987 from Stockholm recorded on the Bluebell label. I found the BBC performance on YouTube and the Stockholm performance on streaming services. The two performances I have heard have convinced me that Nikolayeva deserves all the praise that has been poured on her for her Goldbergs. Just focusing on the BBC performance, what Nikolayeva brings is a golden, round tone paired with supple and fluid phrasing that feels intuitive and unique. You can’t claim Nikolayeva sounds like anyone else in this music because she just brings her own interpretive feeling to each variation, but entirely without ego. Her use of rubato is out of style in Bach these days, but I urge you to put that aside. This is music making that speaks to the heart in a comforting and almost spiritual way that I find completely disarming. While perhaps somewhat slower, and in a more romantic vein than some, Nikolayeva also resists the monumentally slow and turgid tempos heard with Tureck and Landowska. This is really good stuff, and I urge you to hear Nikolayeva’s Bach.
Other pianists that are not on my recommended list, but have recorded good to very good sets of The Goldberg Variations include Andras Schiff, Angela Hewitt, Lang Lang, Vladimir Felstman, Alexandre Tharaud, Pavel Kolesnikov, and Zhu Xiao-Mei. All of the pianists listed above should be heard, and it is quite possible you may prefer some of them more than others I have listed.
Recommended Harpsichord Recordings
Although I have a marginal preference for listening to The Goldberg Variations on piano, there are several excellent recordings on harpsichord. If you are like me, listening to the harpsichord for over an hour gets to be wearisome. But the timbre of the harpsichord also brings its own rewards and after all Bach did write the variations for the instrument.
One note about harpsichords is that depending on their construction, the sound produced by different instruments can vary more widely than different pianos. The recommendations below reflect my preference for a harpsichord with clearer tone and less cloudy reverberation.
One of my favorite recordings on harpsichord is the first recording by the French harpsichordist Pierre Hantaï, recorded in 1993 for the Opus 111 label. Recorded on a copy of an 18th century harpsichord, the sound created is almost immediately appealing. Hantaï sounds wonderfully inside the music, and produces a naturally flowing line which also produces a clear bass line, and maintains the rhythmic spring heard on piano but sometimes missing on harpsichord. This recording won the Gramophone Award, and it is easy to see why. There is a spontaneity and freshness that has held up well for the past 30 years.
I also greatly enjoy Christophe Rousset’s traversal on Decca, released in 1995. Rousset’s recording brings some of the same qualities in terms of a clear acoustic which allows us to hear all the notes articulated on the harpsichord. Rousset is not as searching as Hantaï, but is perhaps more exciting in his playing due to taking faster speeds. Although he takes all the repeats, he uses very little embellishments, and so it is a relatively conservative reading. While more personality could be present, Rousset’s strengths come to the fore such as his clarity and keen rhythmic sense.
A fun discovery was a 2000 recording on the Delos label by an artist completely unknown to me by the name of Jory Vinikour. In many ways, this is the pick of the lot if you want to hear the variations on harpsichord. The instrument itself is ideal, with crisp high notes balanced by a mellow resonance. The recording captures the full sound wonderfully. Vinikour doesn’t rush his performance, and the impression is of an artist that has thought a great deal about each variation. He is not afraid to slow things down in order to enhance the mood, but also brings vitality and energy to the faster variations. Vinikour uses ornamentation and embellishments more than most, and to superb effect, but never goes over the top. The slower variations are done with feeling and with little touches that really make a nice impact. The 25th variation, the “black pearl”, at over 10 minutes is played for all its emotional worth and is one to cherish. Alternatively, variation 16 is given quite an exciting and energetic treatment. Vinikour’s set is a delight, and can be confidently recommended.
Finally in the harpsichord category is a 2015 recording on the Glossa label by the Spanish harpsichordist Ignacio Prego. Prego has the full measure of this music, and is aided by a wonderful sounding instrument. I enjoyed Prego’s interesting embellishments (try the repeat to variation 1), and his consistently well articulated technique. There is a flexibility in Prego’s phrasing too, and nothing is hurried so that we hear all the textures and voices. I cannot imagine why this recording is not more well-known, I found it thoroughly enjoyable.
Also worth hearing on harpsichord are the recordings by Richard Egarr, Gustav Leonhardt, Jean Rondeau, and Andreas Staier.
Recording on other instruments
Most of the arrangements of The Goldberg Variations for other instruments are not as successful as on keyboard, but this 2017 recording by Trio Zimmermann on BIS records is most certainly an exception. Led by the outstanding violinist Frank Peter Zimmermann, this is playing of a very high level, polished, assured, and completely convincing even though not on the keyboard. Tempos are lively, and the trio keep things moving while the excellent recording quality gives us a transparent picture of the different layers. The overall arc of the variations is in evidence too, and while each variation feels freshly unveiled, when we arrive at the end we feel an organic sense of arrival. Well worth exploring.
We have reached the conclusion of this installment of Building a Collection. Thank you for reading, and I look forward to the next post which will be #21, Richard Wagner’s groundbreaking opera Tristan und Isolde. See you then!
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Notes:
Agam, Tal. Bach Goldberg Variations – The Best Recordings – Part 2 – Harpsichord Versions. www.theclassicreview.com. August 31, 2018.
Bazzana, Kevin (2003). Wondrous Strange: The Life and Art of Glenn Gould. Toronto: McClelland & Stewart. ISBN 978-0-7710-1101-6. OCLC 52286240.
Brennan, Gerald. Schrott, Allen. Woodstra, Chris. All Music Guide to Classical Music, The Definitive Guide. All Media Guide. Pp. 44-47, 517. Backbeat Books, San Francisco. 2005.
Clements, Dominy. https://www.musicweb-international.com/classrev/2019/Jun/Bach_Goldberg_BIS2347.htm
Friedrich, Otto (1990) [Reprint. Originally published: New York: Random House, 1989]. Glenn Gould: A Life and Variations. New York: Random House. ISBN 978-0-679-73207-5. OCLC 21445409.
Gould, Glenn (1987). Page, Tim (ed.). The Glenn Gould Reader. Boston: Faber and Faber. ISBN 0-571-14852-2. OCLC 751249764.
Kettle, Martin. Bach at his best. The Guardian. October 3, 2003.
Kirkpatrick, Ralph (1938). Edition of the Goldberg Variations. New York/London: G. Schirmer.
Nicholas, Jeremy. Earl Wild. Gramophone Magazine, October 2022. Pg. 74.
Ostwald, Peter F. (1997). Glenn Gould: The Ecstasy and Tragedy of Genius. New York: W. W. Norton. ISBN 978-0-393-04077-7. OCLC 35586754.
Payzant, Geoffrey (1978). Glenn Gould: Music & Mind. Toronto; London: Van Nostrand Reinhold. ISBN 0-442-29802-1. OCLC 16422990.