Rather disappointingly, Chen rerecording of the piece in the more up-to-date Teldec Studio in Berlin (2001) took the other opposite in regards to repeats, ornamentation and exploratory territory, and the results are forced and unnatural. He also hurries up with the end of every variation.

The official 2020 Football Roster for the. As most (if not all) of Gould’s recordings, there are intentional oddities, some of which plain nonsensical, including unnatural phrasing, inflation of staccatos and excessively fast or slow tempo choices. Listening to Beatrice Rana’s quite recent release, the word “refreshing” is the first to come to mind. Though it won’t win every listener, to me it’s very persuasive.

It’s that good. This brings much more clarity to the contrapunct writing and to the playful ornaments in the repeats – This time even more daring than the Decca version. His ornaments in repeats sound just right and never excessive, and he also enjoys Sony’s best engineering services. From an interpretative standpoint you can argue against his decision to incorporate too much of pianissimo to an almost inaudible effect (Val.

Hear as an example variations 15 and 20; If we compare this point to Schiff, he is at his absolute best here, giving emotional intensity without sounding exaggerated. Husband of Private You can never fault Jeremy Denk for his originality and clear-thinking, but what worked so well for the American pianist in other releases does not necessarily sounds fully formed here; The repeats are interesting, but some fluctuation of tempo, highly contrasted dynamics and 19th century-like pianistic style and plain rush on certain variations will not speak to all tastes. What is most special about Willhelm Kempff’s recording (DG, 1969), is that he is determined to strip the score from any ornament, leaving the bare-minimum of the music (Listen to the aria – You’re in for a shock).

This version stands out due to the consistency of its approach. This is another severe, serious version, but one which is much more flowing and natural than Tureck.

It’s a fine performance, but relatively hard to come by. Her 1957 Abby Road Studio mono recording finds her at her most slow and articulated. And this is projected not only through the broad tempi she adopts. One can describe his way of playing musical phrases as “declaratory”, or, as Schiff likes to call it, “Parlando” – In a speaking manner. Overall, a well executed and recorded version, but a bit pale next to the extreme competition. If what you are looking for is improvisatory, heavily ornamented Bach, look no further than Andrea Bacchetti (2012).