NPR: The Goldberg Variations with Jeremy Denk: Variation No. 18 & 25
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- Опубликовано: 13 сен 2024
- Pianist Jeremy Denk walks us through Variations No. 18 & 25 of Bach's 'Goldberg Variations.'
Read his blog post: Why I Hate The 'Goldberg Variations'
www.npr.org/blo...
Producers: Mito Habe-Evans, Tom Huizenga
Audio Engineer: Kevin Wait
Production Assistance by: Anastasia Tsioulcas, Amanda Ameer
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It's terrific to hear someone speak so poetically about Bach. Very interesting video. Thanks
It's very captivating to hear someone speak so passionately about something they love.
His rendition of #25 was superb: it demanded my undivided attention; sucked me in to a vortex of contrapuntal bliss. He should record it.
That breath after he finishes variation 25 says it all really.... this movement really does hit deep, does it not? Incredible writing!
Bach has become an overwhelming part of my life as I move into the latter years of my life. This is compulsive viewing. Thank you so much for this intelligent analysis.
me too.
Me too!
"The Goldbergs are a desert of happiness with oases of sadness: we drink thirstily at all-too-rare darkness." from the NPR blog post. There is nothing to hate and much to love!
Thank you, Mr. Denk, for this insightful and personal outlook on this gorgeous music!
I recently started learning # 18. I am in love. So simple and sweet. But there is something about the way the moving lines intertwine; this sort of rising and falling into themselves. It's something I don't think I'd be aware of just through listening; but in feeling what's required of my fingers.
Well, now I want to hear him play the full versions of both of those!
How wonderful! How wonderful and mysteriously how what your fingers play just happens!
Great analysis of #25. It seemed incomprehensible when I first heard it (played by Glenn Gould, monumentally slowly), and then I gradually fell under its spell. I'm just learning it. Bach surprises and shocks and teases in much of his music, but this must be one of the most excruciating torments he ever devised, with the restlessness of repeated false arrivals, on and on, like climbing mountains with false summits, until the last section where we succumb to the inevitable gravity and tumble in slo-mo back down to the bottom.
18 is definitely one of my favorites too and it's one that I can actually play quite well and it is so fun to play
The metalanguage used to describe the very nuances of these variations is very illuminating. My many thanks going out to you!
Marvelous playing and with life and beautiful touch/expression. Someone just recommended Jeremy Denk this morning and I am thrilled with this great suggestion!
Bravo and many thanks for such enlightened and passionate insights am loving all of these Goldberg discussion by denk wuld luv to hear him speak about partitas and suites of Bach wtc etc
Thank you Jeremy. Your musicianship is inspiring. I wish I had your talent and I also wish I'd been pushed by parents years ago. Alas! At least I can appreciate good music - chamber particularly but also orchestral. Hope to shake your hand at Tanglewood soon. David Demers (Your cd French Impressions with Joshua is extraordinary).
Such a craftsman of sound! A truly engaging explanation.
At first, I didn't like his recording of the Goldbergs. I was wrong. These recordings are unbelievably thoughtful. This guy is all up in JS Bach's head.
Jeremy you have the magic without the madness of our old Bach favorite Glenn Gould.. keep up the good work...
Love variation 18. \o/
Very good commentary thank you
Gorgeous, Mr. Dent -- hitting many nails on the head !
Fantastic music!
Thanks Jeremy- just bought your Goldberg off iTunes
Your var.25 is so deep and touching! I would say Gould is really not good at playing var. 25-like movement, for something he lacks in nature, although I enjoy his energetic side.
Thank you so much for this !!!
Just when I thought Bach couldn't be anymore amazing! This sounds like Wagner or even Schoenberg 100 years later.
Why oh why did I learn to play the guitar instead of the piano.
Why are 18 and 25 so popular? Because they were both featured in Glenn Gould "Slaughter house 5 movie
+K- Jay And why were they featured in the movie? And why were they popular before the movie?
You should have asked Glenn Gould that before he passed away. It was his decision
K- Jay Just saying that what you claim is the reason is not /the/ reason.
far out, douche
K- Jay Lol, that went from zero to butthurt pretty fast, nice. That doesn't stop you from being wrong, though.
I hear adagio.. Don't play it so fast you jack😀. Humor added to such delicacy!👌
Food for the soul
Guitar is also great! :)
jeremy dank le master trol xD
I think the reason #18 is so popular is bc Glenn Gould used it in the sound track to Slaughterhouse FIve
❤👏👏👏👏👏✨
TED MOSBY!!!
One has to WONDER where Bach got his shocking chromaticism. I am not aware of any other composer Bach was aware of who might have pointed in this direction.
I once heard of a motet composer, whose name escapes me who also did this.
Sanjosemike (no longer in CA)
Carlo Gesualdo?
😊
Can you comment on my performance of No. 18? posted on my page. I really like the Gould staccato style, which most performers don't use so much. For me it makes the piece twice as fun to hear and play. It makes it sound very regal in some parts- like a popping trumpet. The video is a bit old, and I've worked a lot lately on my dynamics, and a few tempo variations.
Its not staccato, its called portamente. And yes, it brings the voices in Bach to light. But i don't think this man really understands this, as his Bach does not sound very clear as Gould's does. I think he's simply copying Gould's way of how he would talk about a piece and then play certain amounts of it. Very staged.
Derik von Soltanjan You know, people on youtube are a really unfortunate combination of stupid and mean. This comment is a perfect example.
max reilly Wait, by "this comment" do you mean your comment?
Zaq Pariah , no. I was referring to derik's comment condemning the performance and opinions of a world renowned concert artist. My apologies if that was not clear.
Blorp.
This guy is clearly not mad yet, or perhaps his 'genius' is not real. Because with genius comes a certain amount of madness. We see this with Bach, Mozart, Beethoven, Gould. Either way, nicely played.
Haydn was a genius ..