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JOHANN SEBASTIAN BACH
(1685-1750)
Aria with Diverse Variations ('Goldberg Variations') BWV 988
49:22
1.
Aria
2:08
2.
Variatio 1
0:51
3.
Variatio 2
0:39
4.
Variatio 3 Canone all'Unisono
1:50
5.
Variatio 4
0:57
6.
Variatio 5
0:32
7.
Variatio 6 Canone all Seconda
0:56
8.
Variatio 7 al tempo di Giga
0:48
9.
Variatio 8
0:45
10.
Variatio 9 Canone alla Terza
1:27
11.
Variatio 10 Fughetta
1:23
12.
Variatio 11
0:54
13.
Variatio 12 Canone alla Quarta
2:01
14.
Variatio 13
2:52
15.
Variatio 14
0:57
16.
Variatio 15 Canone all Quinta
4:13
17.
Variatio 16 Ouverture
2:42
18.
Variatio 17
0:44
19.
Variatio 18 Canone alla Sexta
1:21
20.
Variatio 19
0:50
21.
Variatio 20
0:44
22.
Variatio 21 Canone alla Settima
2:28
23.
Variatio 22 alla breve
2:37
24.
Variatio 23
0:55
25.
Variatio 24 Canone all'Ottava
1:52
26.
Variatio 25
4:22
27.
Variatio 26
0:52
28.
Variatio 27 Canome alla Nona
0:42
29.
Variatio 28
0:56
30.
Variatio 29
0:53
31.
Variatio 30 Quodlibet
1:49
32.
Aria da Capo
2:12
33.
Fourteen Canons BWV 1087
4:40
on the first eight notes of the bass of the Aria
GOTTFRIED HEINRICH STÖLZEL
(1690-1749)
34.
Bist du bei mir
2:37
(from the Clavier-Buchlein vor Anna Magdalena Bach)
Solo:Daniel-Ben Pienaar piano
3 September 2010
Notes
Pianist Daniel-Ben Pienaar opened the eyes and ears of the classical music world with his release of Mozart Piano Sonatas (AV 2209), earning plaudits such as Gramophone’s Editor’s Choice and CD of the Week from The Sunday Times. His recording of Bach’s Goldberg Variations is destined to do the same. Pienaar’s probing intellectual interpretation combines with his dazzling finger work and perfect pianistic touch, to deliver a classic recording of Bach’s evergreen Goldbergs. As a bonus, he includes Fourteen Canons BWV 1087, based on the first eight bass notes of the Goldberg’s Aria, and Bist du bei mir from Bach’s Anna Magdalena Notebook, where the Aria from the Goldberg Variations first appeared.
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Reviews
"... His [Pienaar] Bach is superbly recorded in a bright attractive sound that doesn’t tire the ear. He includes some rubato in his playing that is expressive but never distracting ..."
Colin Clarke - International Piano - January/February 2012
"... Avie’s recording is exceptionally clear and natural; produced in the generally lively accoustic setting of the Royal Academ’s Dukes Hall, it’s never over-reverberant Pienaar’s booklet essay, incidentally, is absorbing and very well written. His wide-ranging philosophical and musical observations on bach interpretation add considerable value to this enterprising offering."
Michael Jameson - International Record Review - December 2011
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