In these recordings from the late 50s and early sixties, Tureck has a wonderful tone and tonal range. It's at time almost like Edwin Fischer. Gould had other extraordinary talents but he wasn't a colourist. Gould was an iconoclast, a pianist who would take a piece traditionally played in a slow 4:4 and play it in a fast 2:4. And you would wonder why anyone had ever thought it different. There was a palpable urgency in his playing. It transmits wonderful energy. Tureck, on the other hand, draws you - seduces you into the magical workings of each variation. Each voice with a different sound. And Tureck never lets you forget that everything Bach wrote is a dance. If a performance of Bach doesn't make you want to get up and dance, then for me it's failed. A MAGICAL PERFORMANCE
I like your descriptions of Gould and Tureck. Very fitting. And Dance---that's the keyword right there. Most of Tureck's Bach does sweep me up in a feeling of wanting to get up and dance. And I miss it when I listen to other interpretations that don't do this.
dancig ... no ... music based to renaissance danses... yes but not anymore for dancing... just for hearing, and admire all the subtleties and comlexities of the composition's... texture...! ...I think...
After you get over the initial shock and awe of Glenn Gould's tempi, Tureck's version is refreshing and reveals more of Bach's architecture. For a first time listen I thoroughly enjoyed this.
Anyone who complains about the tempo a great artist chooses for a particular piece doesn't understand that if the performance is exquisite and comes from the heart it should be enjoyed because that's all a real music lover needs.
Rosalyn Turek's playing of the Goldberg Variations is restrained to the point of being 'aristocratic' in the old sense; however, she breathes a welcome breath of fresh air into each variation, bringing a new meaning to "the terraced dynamics of the late Baroque (attrb. to Sviatoslav Richter)." Each variation is a little gem, Ms. Tureck imbues with wonderful tone color; all the while observing the contrapuntal virtues, voices, embellishments, without one hair or note of of place. Overall her control of the cascading dynamics astounds me.
I attended a Tureck recital in Toronto 50 years ago. The only piece she played was the Goldberg Variations. She played it with every repeat, and it lasted over one and a half hours. Over the years I have come to realize that Tureck's performance is without equal, much as I have admired Gould for over 60 years.
"Don't look for spots on the sun," said Rachmaninoff(?) to a pupil of his when the pupil mentioned a mistake another great pianist did. That phrase is something I always try to remember with Tureck's Bach. Sure there are details I would play differently if I could play at all but the whole is something I find truly magnificent. More than any other Goldberg, this is the one I always come back to. It's as brilliant as the sun and has an equally great gravitational pull for me. :D
My version of that is that, when at the Vatican and staring up at the magnificence above, seeing a blemish in the paint or similar effect from five hundred years of gleaming down upon us, one must ignore any negative thoughts, else all of life becomes tarnished.
my new favorite interpretation of one of the best works by our greatest composer JS Bach. Her playing is clean, spartan, unpretentious and just flawless. Her Bach is 2nd to none!!
People have varied tastes and expectations, so some listeners may not warm up to this as much as they might to Glenn Gould’s multiple approaches to the Variations and, indeed, they may not get JS Bach, or baroque music at all; but Ms. Tureck’s love and understanding of these pieces is profound. If you give HER work your time and silence, the deep generosity of her towering genius will reward you with the gift of love itself. Her work, above all other interpreters I’m aware of, made me know in my heart just what William Blake meant when he wrote: To see a World in a Grain of Sand And Heaven in a Wild Flower Hold Infinity in the palm of your hand And Eternity in an hour.
This is indeed one of the most perfect renderings of the most perfect composition of Bach. Slow; If you have ever practiced Tai Chi then you you will come to know the precision and serenity of all things that are taken at a much reduced tempo that realise wonderment. Such higher forms of the interlect cannot be rated by speed alone.
If the GV composition was supposed to have been written to “cure” the insomnia of count, then having it played at a fast tempo would defeat that purpose! It would have the opposite effect, kept the count awake throughout the duration of the piece!
I bought this on vinyl back in 1964. I now have it on DVD and there is never long between the times I listen to it. And each time, I hear new wonders - the different tone she brings to each voice. It's contrapuntal playing as no other pianist - not even Gould - achieves. Her tempi are often described as 'slow' (though not for me) but she never loses the forward dance like rhythm, one finds oneself wanting to get up and dance, it's so physical (another comentator here has also mentioned how she makes the music dance and sing). I thank heaven that I heard her play live (the complete 48). I shall continue listening to herrecordings of Bach until I die and I know I will always discover new wonders.
@@glenngouldification Perhaps instead of penning nonsense, you would like to tell us all exactly why you are obsessed with Gould and despise Tureck. You can explain in detail as I play the Goldbergs - without the singing and grunting - and I might learn something from your evident expertise.
This majestic interpretation of Rosalyn Tureck (this is the first time I hear it) is neat, transparent, delicate. The slower tempo agrees with the supposed objective of the variations (namely, help Count Kayserling pass his insomnia nights cuddled by the music played by his young harpsichordist Goldberg). No question this is one of the greatest versions of the Goldberg Variations. Thanks for uploading,
According Forkel, the legend included a gift from Count Kayserling, a golden cup filled with golden coins. Forkel could speak with Wilhelm Friedemann and Karl Philipp Emanuel ,sons of J.S. Bach. The musical pieces the Count asked must be quiet and cheerful.
All the notes & the layers of voices are so clear & distinct from each other, that you can easily hear the different layers coming together. A true gem!
The main thing Gould and Turreck have in common is the precision of their tempo, never mind the relative speed, and that's probably why Glenn mentioned her in the fifties .as his favourite pianist
Es realmente curioso. Siempre que alguien nombra a otro de la misma profesión y dice admirarlo, luego se comprueba que lo que hace el admirador no se parece en nada a lo que hizo el admirado. Incluso, muchas veces, es completamente opuesto. ¿Será que lo hacen para que no se noten sus influencias? 😆
I think the interesting thing about the Goldberg Variations is that it's so perfect, that it can easily withstand all but the most bizarre interpretations. I've heard a million of them from various keyboard artists, and they are all truly great in their own way.
There is something definitely authentic in her performance. There is an impression that the performer has got enough proficiency to play the harpsichord too. Thank you.
My piano teacher studied with Ms Tureck, and she taught me to appreciate her interpretations of Bach's work. I think if Bach had heard them he would have truly been in love!
***** I wonder. I think Bach understood that perception of voice leading varies greatly among individuals. Some like his music fast, and some like it slow. I'm sure Bach experimented endlessly with tempo. When listening to music, everyone has their own unique brain sampling rate and sensitivity to harmonics. Needless to say, Bach's sampling rate was probably off the charts. Clearly, Gould's fast tempos transform Bach's Fugues into gobbledygook for some listeners. Just read some of his negative reviews. Others perceive his playing as something incredibly exciting and precise. Tureck was mainly a teacher, so naturally she favored slower tempos to be clear to most of her students.
There’s a good chance that he would not have time to listen to these recordings. They are SLOW and he had all those kids to tend to and a Cantata to churn out every week !
@@glenngouldification I don't think JSBach would have even had time to evaluate his own work . I sometimes think of him walking for a week (❓️) on pilgrimage to listen to Buxtehude . Was that the only time he had a holiday ❓️
we live in an age where life, must be lived,experienced at warp speed.in our world, everything from walking to eating and driving must be hurried or we're out of step with time itself.Gould reflects this world perfectly and brilliantly. he is a great artist of our time. I listen to him every chance I get. Tureck,it seems to me, mirrors a different world,a Bach-ian world if you will.things are at a much slower pace and life unfolds in a much more leisurely fashion. Tureck is a throwback to that time and place.I prefer Gould, but Tureck has her charms as well. fortunately, I have the time to listen to her,but I fully understand those who don't. I will listen to both of them with respect and gratitude for their great art.
Gould, unfortunately, did not live into this era. He reflects the era in which the pace of human existence was just beginning to accelerate. Imagine, that era was one in which the phenomenon known as global warming was only known of by a few of us.
There are many performances of the "Goldberg Variations" that I love, including both the early and late Gould performances, but I keep coming back to Tureck's performance.
This is a really marvelous tempo and if they were indeed written as nightime sleeping music then as impossible it is to sleep with the wonder of each succeeding variata I can only say one will have sweet dreams . My fave recording of these Goldberg . Gould is timeless but Tureck space and time just turn around and around !
People quibble about her tempi, but at the speed she takes these variaions, she can bring such variety of tone and touch, such wonderful rhythmic and tonal (e.g legato vs stacato) counterpoint. The different colourings that she brings to inner voices, giving each voice its characteristic sound - that is truly great piano playing were it not great Bach playing as well.
Those only used to Gould's "singer sewing machine on crack" version are the only ones complaining about the tempi. Most of the great pianists take it at Tureck's range of tempi, not because they are copying her, but because that's as it should be. It is amazing that there are so many Gould groupies out there still. Some things he did were great, such as the Toccatas, but the groupies are way too one eyed.'
Yeah. It's important to get that she's in her groove, that it's a groove, not correctness. It's a real, and varied, energy, a trance, an experience. Imagine her humming like Glenn...
I love the slow pace. I take every note in and every note presents me with infinite feelings. love it. I listen to this version every other night before I go to sleep.
I really appreciate the slower pace on these and including the repeats. I have an entire youtube playlist filled with different performances of the Goldbergs. I was very happy to add this one. As someone learning to play them currently, the slower pace and clear notes are very nice to hear.
Rosalyn Tureck plays a brand new Goldberg Variations. So transparent, delicate, affectionate rendering of Kaysserling clavichordist Goldberg music for ¡nsomniac nights.It makes clear the absolute infinity of interpretations of really great music. Genius has no limits.
Es mi variacion favorita. A mi no me agrada nada el Bach que hacia Gould, sin embargo la primera variacion en su segunda grabación es de lo poco bueno que tuvo. Los estudiosos dicen que esa 1era variacion debe ser rápida energica ya que se supone que es un "courante"
OMG, so I'm not the only one. I don't know how or why, but the sarabande is a total heartbreaker for me. I knew Tureck was a big name in Bach before HIP and IIRC, Gould thought highly of her playing. The performance here seems very introspective: this is not music for the concert stage, but for . . . well, one musician and one listener, which was the intended audience. I can see how someone hearing the Goldbergs for the first time might not like it. OTOH, if you already know them somewhat well, this may sound corny, but-its a journey to some very quiet and private places and states of mind. And that's wonderful.
Slow, yes, but pedantic? If you mean 'academic, bookish, scholarly' then this could also be said of many of the historically informed performances on period instruments. In a way T. is the opposite as she plays it idiosyncratically on a modern grand piano... if you mean 'overly concerned with minute details', one could argue that in very fine piano playing, *every* detail is important. On the contrary her great control and concentration on details are the things that attrackt me in her playing.
IN many ways, Tureck was the prototype Gould. Gould adored Tureck's Bach, and often said she was the only major influence on Gould's playing. Other than Alberto Guerrero of course.
I purchased this absolutely remarkable performance on vinyl record back in the 1970's at a bargain price in Hong Kong Record.I was surprised that they can put more than 45 minutes on each side of the record. I thought it was a double album at first.The release is by Everest Record.
Beautiful. Perfect tempo which allows one the orchestral implications of each voice. She’s who I turn to for a solid education in performance. Andras Schiff and Glenn Gould add to the beauty of the work.
Great performance, though it was 67 years ago! Listen to 2:27, with the few notes dropping like tears on the heart. And the great theme tells a serious minded tale in a straight forward manner without hesitation. With Variation #25, she raises Bach’s haunting questions and then she answers them in the affirmative. Great!
so much negativity about the slow pace here... how tragic. For anyone who commented that this slow pace is painful (i suppose you're refering to certain parts as others have pointed out), perhaps you could attempt such a pace when you care to, record it and chances are you will encounter great difficult delivering the variations meaningfully at such a pace. Years ago a teacher told me that for music to have life, music or sound must keep moving. I find this recording amazing that at this pace, the goldberg variations maintains such a good balance of control, life, texture and depth. * try to enjoy music as it is and stop breaking the piece down... I've found music more delightful this way.
Yeah, also baroque music doesn't have specific tempo. :) You can slow down or speed up anywhere in the piece as long as you have the reason why. Tho I don't know anything when to speed up or slow down tho.
Personally, I really really like Tureck's interpretation. She makes you listen to the music closely because of the relative slowness of her tempo. As a result, every note is clear and articulated and, despite her slow tempo or maybe as a result of it, still she seems to be able to make the music dance and sing (which, to me, is the quintessence of Bach).
The classical music world is full of negativity. Unfortunately, you're trained in the conservatory to be negative and overtly critical. I know first hand, I've been in that world.
muchas gracias por compartir. en la variación n25 se nota lo Romántico que puede ser bach dentro del estilo y que es el comienzo y el final de la música... abrazo
+Sidney Raphael I dont understand...just playing piano...and glen gould versus the lady Tureck...just the timeing....i dont figuret out why the playing is diffrent ..to me is like you and me
here in this time my mind change from the meaning of music. just beauty. shining. and some kindness. not usually. I feel the warmth and the softness of a hand. my eyes constraint to close.
People complain about the tempi, but the truth and the matter is that they should be able to find the beauty in the slow tempi as well. It is like person walking compared to someone running. After all, do not forget, this piece was written as a lullaby to insomniac, maybe Rosalyn was after that...
queste sono le variazioni goldberg!!!! i pianisti di oggi le eseguono troppo veloci anche se alla perfezione. l'essenza della musica è più profonda della ricerca dell'applauso del pubblico e del primo premio ai concorsi pianistici! la più grande interprete di Bach !!
What a wonderful wonderful interpretation - beautifully played - perfection - These silly comments 'too mannered and slow' just shows how narrow your musical spectrum is - can u play this ?
It most likely takes that long to reach this state of awareness of the nuances of the Goldberg Variation, much perform them. Imagine what we would have if Gould had not been prematurely killed by the severe case of polypharmacy from which he apparently suffered. Such tragedy.
Briljant! Very impressive and very original. Comparable with Glenn Gould, but much more feminine. This is one of the best Goldberg variations I have ever heard. I feel deeply touched by this artist. Thanks for this bliss!
+LinkBulletBill His tempo choices for his later recording had absolutely nothing to do with emotion actually. It was solely based on using a common rhythmic pulse or a variation of such.
+LinkBulletBill His tempo choices for his later recording had absolutely nothing to do with emotion actually. It was solely based on using a common rhythmic pulse or a variation of such.
That info is based on an in-depth interview he gave explaining his choice of tempi for that recording. The interview can be found on the recording itself.
Sometimes I find her tempi a bit slow and ponderous for my taste, but overall I find Tureck's Bach a good balance between intellect, musicology and musicality...and she often reaches the sublime.
This performance to me transcends any consideration of taste. The only taste that is herein relevant is that of the performer. She is offering us the equivalent of a feast of a consummate chef. Ultimately the taste that is relevant of the chef and the ultimate memory of the performance left with the listener and the final overall taste the listener experiences by the end of this musical feast.
These are the real Goldbergs! They are exceptionally boring, romantic and unlike Bach that I fell asleep within 5 minutes. Really brilliant! Woke up luckily when it was finished because I have a busy day.
Me gustaría escuchar este tempo en el clavecin. Indudablemente se acerca a lo que sería el motivo de la obra. Recuérdese que fue escrita para uno de los alumnos de Bach que interpretaba música para el conde de Kayserling; éste tenía dificultades para conciliar el sueño y había escuchado que Augusto Cesar, para vencer esa misma dificultad, se hacía interpretar música por una orquesta lejana por lo que ocupaba a Goldberg en ello a través de una pared de su cuarto. La versión de Gould (la primera), mrvillosa, quién lo duda, es demasiado apasionada para este fin. No dudo que tendría al noble en vilo toda la noche.
Yes. One magnificent aspect of this music is that its interpretations and performances on instruments such the modern concert grand piano can express degrees of profundity that might not have been conceivably possible during the era in which Goldberg would have played these variations for the count.
Almost the same tempo as the Gould '81. Gould '81 might be infinitesimally quicker, but the influence is all over the place. Who else but them two have chosen to do the Aria like this? The '55 Gould is of course very different. Maybe he had wait to get to her age to figure it out. Listening to Tureck is like peaking into Gould's secrete library.
Mannered? Is that pejorative? If so, I wholeheartedly disagree. This is a performance of Bach’s composition in which there is an unmatched clarity of every detail Bach gave to us. Clearly this work existed in her mind and muscle memory in a manner that enabled her to actualize the music in a truly holographic manner that permits the listener to observe the music in both its detail and complexity as if new with each listening episode.
It is simply such a beauty. I can't complain about the extremely slow tempo at all! However why switching to the opposite, such a fast pace in some variations? As example the 13th. That beautiful variation deserved a bit more delicacy IMHO as listener. Even Gould plays it slower in 1955, but more importantly with such a softness in every note... not to mention Nikolayeva. So everything is open to interpretation
Is she adding additional embellishments to this, or is Gould just not playing them when he performs it? Maybe it goes by faster when Gould is doing it, but I swear her aria sounds like it has a lot of extra notes in it. Not really good or bad, just not what I'm used to.
Slow tempo !!!?. too much Gould Cocaine perhaps. She was an absolute master , overshadowed by Glenn Gould. The only pianist he admitted to be an influence (quite evident imho). As alien and genius that Gould was, i feel much closer to this rendition now.
You kidding? Gould has repeatedly expressed his admiration for Schnabel (in Beethovens 4th concerto), Rubinstein (in Brahms' Quintet), Richter - amongst others...
@@SergioValenzuela Right, you have a point here! But what about Schnabel? When he was learning Beethoven's 4th concerto as a teenager, Gould used to play it on the piano along with Schnabel's recording. Now if that isn't an influence!
@@Pogouldangeliwitz You are much more savy about those details!. dind´t know that interesting fact , using Schnabel´s as play along . I´ve been amused with things like , how he enjoyed playing with the noise of not one, but two vacuum cleaners, as he requested to his maid. :).cheers
In these recordings from the late 50s and early sixties, Tureck has a wonderful tone and tonal range. It's at time almost like Edwin Fischer. Gould had other extraordinary talents but he wasn't a colourist. Gould was an iconoclast, a pianist who would take a piece traditionally played in a slow 4:4 and play it in a fast 2:4. And you would wonder why anyone had ever thought it different. There was a palpable urgency in his playing. It transmits wonderful energy. Tureck, on the other hand, draws you - seduces you into the magical workings of each variation. Each voice with a different sound. And Tureck never lets you forget that everything Bach wrote is a dance. If a performance of Bach doesn't make you want to get up and dance, then for me it's failed. A MAGICAL PERFORMANCE
I like your descriptions of Gould and Tureck. Very fitting. And Dance---that's the keyword right there. Most of Tureck's Bach does sweep me up in a feeling of wanting to get up and dance. And I miss it when I listen to other interpretations that don't do this.
P09
Por o
Beautifully said. The dance is the thing. ✨
dancig ...
no ...
music based to renaissance danses... yes
but not anymore
for dancing...
just for hearing,
and admire all the subtleties and comlexities of the composition's... texture...!
...I think...
After you get over the initial shock and awe of Glenn Gould's tempi, Tureck's version is refreshing and reveals more of Bach's architecture. For a first time listen I thoroughly enjoyed this.
Anyone who complains about the tempo a great artist chooses for a particular piece doesn't understand that if the performance is exquisite and comes from the heart it should be enjoyed because that's all a real music lover needs.
Rosalyn Turek's playing of the Goldberg Variations is restrained to the point of being 'aristocratic' in the old sense; however, she breathes a welcome breath of fresh air into each variation, bringing a new meaning to "the terraced dynamics of the late Baroque (attrb. to Sviatoslav Richter)." Each variation is a little gem, Ms. Tureck imbues with wonderful tone color; all the while observing the contrapuntal virtues, voices, embellishments, without one hair or note of of place. Overall her control of the cascading dynamics astounds me.
I attended a Tureck recital in Toronto 50 years ago. The only piece she played was the Goldberg Variations. She played it with every repeat, and it lasted over one and a half hours. Over the years I have come to realize that Tureck's performance is without equal, much as I have admired Gould for over 60 years.
💙
"Don't look for spots on the sun," said Rachmaninoff(?) to a pupil of his when the pupil mentioned a mistake another great pianist did. That phrase is something I always try to remember with Tureck's Bach. Sure there are details I would play differently if I could play at all but the whole is something I find truly magnificent. More than any other Goldberg, this is the one I always come back to. It's as brilliant as the sun and has an equally great gravitational pull for me. :D
But there are spots on the sun and looking at them is very interesting.
137Newton Very well said.
137Newton Of course but looking at them will damage your sight forever.
Listen to Rach
My version of that is that, when at the Vatican and staring up at the magnificence above, seeing a blemish in the paint or similar effect from five hundred years of gleaming down upon us, one must ignore any negative thoughts, else all of life becomes tarnished.
my new favorite interpretation of one of the best works by our greatest composer JS Bach. Her playing is clean, spartan, unpretentious and just flawless. Her Bach is 2nd to none!!
None is Gould !
@@glenngouldification love the man from Toronto Rosalyn he greatly admired
@@glenngouldificationnot comparable. Just. Different.
People have varied tastes and expectations, so some listeners may not warm up to this as much as they might to Glenn Gould’s multiple approaches to the Variations and, indeed, they may not get JS Bach, or baroque music at all; but Ms. Tureck’s love and understanding of these pieces is profound. If you give HER work your time and silence, the deep generosity of her towering genius will reward you with the gift of love itself. Her work, above all other interpreters I’m aware of, made me know in my heart just what William Blake meant when he wrote:
To see a World in a Grain of Sand
And Heaven in a Wild Flower
Hold Infinity in the palm of your hand
And Eternity in an hour.
This is indeed one of the most perfect renderings of the most perfect composition of Bach. Slow; If you have ever practiced Tai Chi then you you will come to know the precision and serenity of all things that are taken at a much reduced tempo that realise wonderment. Such higher forms of the interlect cannot be rated by speed alone.
If the GV composition was supposed to have been written to “cure” the insomnia of count, then having it played at a fast tempo would defeat that purpose! It would have the opposite effect, kept the count awake throughout the duration of the piece!
Wow this is very interesting 🤔
I will definitely listen to this famous recording . THANK YOU FOR YOUR COMMENTS ❤
I bought this on vinyl back in 1964. I now have it on DVD and there is never long between the times I listen to it. And each time, I hear new wonders - the different tone she brings to each voice. It's contrapuntal playing as no other pianist - not even Gould - achieves. Her tempi are often described as 'slow' (though not for me) but she never loses the forward dance like rhythm, one finds oneself wanting to get up and dance, it's so physical (another comentator here has also mentioned how she makes the music dance and sing). I thank heaven that I heard her play live (the complete 48). I shall continue listening to herrecordings of Bach until I die and I know I will always discover new wonders.
You can listen to these until you die, I will listen to Gould’s until well after I die !
@@glenngouldification Perhaps instead of penning nonsense, you would like to tell us all exactly why you are obsessed with Gould and despise Tureck. You can explain in detail as I play the Goldbergs - without the singing and grunting - and I might learn something from your evident expertise.
@@keybawd4023 Perhaps responding to an uneducated musical idiot like you would be a complete waste of time !
@@keybawd4023 Your Goldberg’s with amplified humming, grunting and wheezing sounds way better.
This majestic interpretation of Rosalyn Tureck (this is the first time I hear it) is neat, transparent, delicate. The slower tempo agrees with the supposed objective of the variations (namely, help Count Kayserling pass his insomnia nights cuddled by the music played by his young harpsichordist Goldberg). No question this is one of the greatest versions of the Goldberg Variations. Thanks for uploading,
The Kayserling story is most likely a legend.
@@starless5668 Thanks for your answer. Most likely you are right. Ma... se non é vero, é ben trovato!
According Forkel, the legend included a gift from Count Kayserling, a golden cup filled with golden coins. Forkel could speak with Wilhelm Friedemann and Karl Philipp Emanuel ,sons of J.S. Bach. The musical pieces the Count asked must be quiet and cheerful.
This recording is a cure for insomnia.
All the notes & the layers of voices are so clear & distinct from each other, that you can easily hear the different layers coming together. A true gem!
The main thing Gould and Turreck have in common is the precision of their tempo, never mind the relative speed, and that's probably why Glenn mentioned her in the fifties .as his favourite pianist
Es realmente curioso. Siempre que alguien nombra a otro de la misma profesión y dice admirarlo, luego se comprueba que lo que hace el admirador no se parece en nada a lo que hizo el admirado. Incluso, muchas veces, es completamente opuesto. ¿Será que lo hacen para que no se noten sus influencias? 😆
Tureck did not return Gould's esteem. She had no use for Gould.
the art of fine articulated phrasing.my favourite Bach player.LOng live Tureck.RIPx
I think the interesting thing about the Goldberg Variations is that it's so perfect, that it can easily withstand all but the most bizarre interpretations. I've heard a million of them from various keyboard artists, and they are all truly great in their own way.
How come people out there are disliking Bach piano works? Specially in this interpretation & performance by Tureck?
They were composed before the piano was even developed.
There is something definitely authentic in her performance. There is an impression that the performer has got enough proficiency to play the harpsichord too. Thank you.
My piano teacher studied with Ms Tureck, and she taught me to appreciate her interpretations of Bach's work. I think if Bach had heard them he would have truly been in love!
*****
I wonder. I think Bach understood that perception of voice leading varies greatly among individuals. Some like his music fast, and some like it slow. I'm sure Bach experimented endlessly with tempo. When listening to music, everyone has their own unique brain sampling rate and sensitivity to harmonics. Needless to say, Bach's sampling rate was probably off the charts.
Clearly, Gould's fast tempos transform Bach's Fugues into gobbledygook for some listeners. Just read some of his negative reviews. Others perceive his playing as something incredibly exciting and precise. Tureck was mainly a teacher, so naturally she favored slower tempos to be clear to most of her students.
You are right.
There’s a good chance that he would not have time to listen to these recordings. They are SLOW and he had all those kids to tend to and a Cantata to churn out every week !
@@glenngouldification I don't think JSBach would have even had time to evaluate his own work . I sometimes think of him walking for a week (❓️) on pilgrimage to listen to Buxtehude . Was that the only time he had a holiday ❓️
we live in an age where life,
must be lived,experienced
at warp speed.in our world,
everything from walking to
eating and driving must be hurried
or we're out of step with time
itself.Gould reflects this world
perfectly and brilliantly. he is
a great artist of our time. I
listen to him every chance I get.
Tureck,it seems to me, mirrors
a different world,a Bach-ian
world if you will.things are at
a much slower pace and life
unfolds in a much more
leisurely fashion. Tureck is
a throwback to that time and
place.I prefer Gould, but Tureck
has her charms as well.
fortunately, I have the time to
listen to her,but I fully understand
those who don't. I will listen to
both of them with respect and
gratitude for their great art.
Gould, unfortunately, did not live into this era. He reflects the era in which the pace of human existence was just beginning to accelerate. Imagine, that era was one in which the phenomenon known as global warming was only known of by a few of us.
There are many performances of the "Goldberg Variations" that I love, including both the early and late Gould performances, but I keep coming back to Tureck's performance.
Me too ! There is so much that happens here that happens nowhere else .
This is a really marvelous tempo and if they were indeed written as nightime sleeping music then as impossible it is to sleep with the wonder of each succeeding variata I can only say one will have sweet dreams . My fave recording of these Goldberg . Gould is timeless but Tureck space and time just turn around and around !
People quibble about her tempi, but at the speed she takes these variaions, she can bring such variety of tone and touch, such wonderful rhythmic and tonal (e.g legato vs stacato) counterpoint. The different colourings that she brings to inner voices, giving each voice its characteristic sound - that is truly great piano playing were it not great Bach playing as well.
Those only used to Gould's "singer sewing machine on crack" version are the only ones complaining about the tempi. Most of the great pianists take it at Tureck's range of tempi, not because they are copying her, but because that's as it should be. It is amazing that there are so many Gould groupies out there still. Some things he did were great, such as the Toccatas, but the groupies are way too one eyed.'
@@jeremyd1021 "singer sewing machine on crack" Hahahahahaha . . . LOL!!!
Yeah. It's important to get that she's in her groove, that it's a groove, not correctness. It's a real, and varied, energy, a trance, an experience. Imagine her humming like Glenn...
@@rravviashe is humming in her head
There is time for everything in this rendition. Beautiful!
When something is simple, take your time and do it right.
I love the slow pace. I take every note in and every note presents me with infinite feelings. love it. I listen to this version every other night before I go to sleep.
Variety of changes and rhythms in detailed expression, and unique and beautiful tone color, her originality is unmatched by anyone.
I really appreciate the slower pace on these and including the repeats. I have an entire youtube playlist filled with different performances of the Goldbergs. I was very happy to add this one. As someone learning to play them currently, the slower pace and clear notes are very nice to hear.
Rosalyn Tureck plays a brand new Goldberg Variations. So transparent, delicate, affectionate rendering of Kaysserling clavichordist Goldberg music for ¡nsomniac nights.It makes clear the absolute infinity of interpretations of really great music. Genius has no limits.
Wunderbare und absolut spannende Interpretation. Die Gedächtnisleistung ist zu bewundern…
Rosalyn Tureck's interpretation of the 1st variation is beyond what words could describe. Slow, melodic and rich of sad feelings.
Es mi variacion favorita. A mi no me agrada nada el Bach que hacia Gould, sin embargo la primera variacion en su segunda grabación es de lo poco bueno que tuvo.
Los estudiosos dicen que esa 1era variacion debe ser rápida energica ya que se supone que es un "courante"
Perhaps. Gould's 1981 version is reminiscent of this one.
I think you mean the Aria, the opening movement. The first variation is the second movement, and begins at 6:10.
God I love this and when at the final 'variation' we come full circle and the first is repeated again tears were streaming .....
OMG, so I'm not the only one. I don't know how or why, but the sarabande is a total heartbreaker for me.
I knew Tureck was a big name in Bach before HIP and IIRC, Gould thought highly of her playing. The performance here seems very introspective: this is not music for the concert stage, but for . . . well, one musician and one listener, which was the intended audience. I can see how someone hearing the Goldbergs for the first time might not like it. OTOH, if you already know them somewhat well, this may sound corny, but-its a journey to some very quiet and private places and states of mind. And that's wonderful.
I have a longtime admiration for a recording of Schiff, and occasionally listen to one or two others, but I always come back to this.
beautiful tempo. Slow, but with emotion and sensibility.
Esecuzione bellissima, quanto mai emozionante.
Slow, yes, but pedantic? If you mean 'academic, bookish, scholarly' then this could also be said of many of the historically informed performances on period instruments. In a way T. is the opposite as she plays it idiosyncratically on a modern grand piano... if you mean 'overly concerned with minute details', one could argue that in very fine piano playing, *every* detail is important. On the contrary her great control and concentration on details are the things that attrackt me in her playing.
i like her meditative tempo,
I think "meditative" is an excellent way to describe her approach and to justify the tempii differences from others. Well put.
@@rsjmd i agree i think her tempo is welcome from so many pianists flying through this.
My favorite for GVs is now Koroliov, (Gould is Gould)...hope you enjoy it as well
I like this word, you know how to put it correctly!
This version is so great as there is no commercial ads~~XD
Weiyang WANG c
IN many ways, Tureck was the prototype Gould. Gould adored Tureck's Bach, and often said she was the only major influence on Gould's playing. Other than Alberto Guerrero of course.
I purchased this absolutely remarkable performance on vinyl record back in the 1970's at a bargain price in Hong Kong Record.I was surprised that they can put more than 45 minutes on each side of the record. I thought it was a double album at first.The release is by Everest Record.
Beautiful. Perfect tempo which allows one the orchestral implications of each voice. She’s who I turn to for a solid education in performance. Andras Schiff and Glenn Gould add to the beauty of the work.
My God! Variatio 5 at 15.26 is sublime. It's just immense.
Excellent change after listening to Gould forever!
Sometimes you just have to play Bach's music so slow that you can get all the details.
Well said 😮
Bach's music need to be looked at in every single detail because they are so inter-connected.
The very best of them all!
Great performance, though it was 67 years ago! Listen to 2:27, with the few notes dropping like tears on the heart. And the great theme tells a serious minded tale in a straight forward manner without hesitation. With Variation #25, she raises Bach’s haunting questions and then she answers them in the affirmative. Great!
And?
And it’s still fresh to me.
so much negativity about the slow pace here... how tragic.
For anyone who commented that this slow pace is painful (i suppose you're refering to certain parts as others have pointed out), perhaps you could attempt such a pace when you care to, record it and chances are you will encounter great difficult delivering the variations meaningfully at such a pace.
Years ago a teacher told me that for music to have life, music or sound must keep moving.
I find this recording amazing that at this pace, the goldberg variations maintains such a good balance of control, life, texture and depth.
* try to enjoy music as it is and stop breaking the piece down... I've found music more delightful this way.
Yeah, also baroque music doesn't have specific tempo. :) You can slow down or speed up anywhere in the piece as long as you have the reason why. Tho I don't know anything when to speed up or slow down tho.
Personally, I really really like Tureck's interpretation. She makes you listen to the music closely because of the relative slowness of her tempo. As a result, every note is clear and articulated and, despite her slow tempo or maybe as a result of it, still she seems to be able to make the music dance and sing (which, to me, is the quintessence of Bach).
The classical music world is full of negativity. Unfortunately, you're trained in the conservatory to be negative and overtly critical. I know first hand, I've been in that world.
"I took a speed-reading course and devoured War and Peace in 20 minutes...It involves Russia" - Woody Allen
her tempo is fine one can hear the mordents very cleary. She was a fantastic pianist
Looking forward to keeping it in my collection.!!!
muchas gracias por compartir. en la variación n25 se nota lo Romántico que puede ser bach dentro del estilo y que es el comienzo y el final de la música... abrazo
Life is CRUEL. There are only 24 hours in a day and I MUST cram Tureck, Gould, Nikolayeva, Schiff etc etc etc into that limited span. Poor me.
+Sidney Raphael I dont understand...just playing piano...and glen gould versus the lady Tureck...just the timeing....i dont figuret out why the playing is diffrent ..to me is like you and me
Do save room for Beatrice Rana
My heart BLEEDS for you!!!!!!!!!!!!!!!!!!!!!!!!!!!
i feel you're pain
You forgot Richter...
here in this time my mind change from the meaning of music. just beauty. shining. and some kindness. not usually. I feel the warmth and the softness of a hand. my eyes constraint to close.
People complain about the tempi, but the truth and the matter is that they should be able to find the beauty in the slow tempi as well. It is like person walking compared to someone running. After all, do not forget, this piece was written as a lullaby to insomniac, maybe Rosalyn was after that...
Also, the inner musicality and relative speeds of the ornamentation in this performance are jewel-like in their sparkle and precision.
💜💛❤🧡💚💙💚🧡❤💛💜
Rosalyn Tureck has something I cannot describe verbally .
I keep returning to Tureck 😘🥰😘🥰😘
J'aime beaucoup sa façon de jouer la variation 5, c'est constant et joyeux.
Hellcolik² &
Goldberg Variations are made for a russian ambassador earl Kayserling long time ago. It is not "just a concert".
magnifique que merveilleux poème de son
queste sono le variazioni goldberg!!!! i pianisti di oggi le eseguono troppo veloci anche se alla perfezione. l'essenza della musica è più profonda della ricerca dell'applauso del pubblico e del primo premio ai concorsi pianistici! la più grande interprete di Bach !!
Amo esta OBRA.❤️❤️❤️❤️❤️
Finest interPretor of Bach hands down
Love this tempi and the changes in dynamics within the individual variations..and the repeats!
Beautiful, intimist, diferent !!!!!
What a wonderful wonderful interpretation - beautifully played - perfection - These silly comments 'too mannered and slow' just shows how narrow your musical spectrum is - can u play this ?
Great! 75 years old! My favorite: Variation 25. Who else can play so sensitive?
I think "The Black Pearl" (named by her?) is the centerpiece to her interpretation. No one else plays it as revealingly as she does.
It most likely takes that long to reach this state of awareness of the nuances of the Goldberg Variation, much perform them. Imagine what we would have if Gould had not been prematurely killed by the severe case of polypharmacy from which he apparently suffered. Such tragedy.
Tureck is to Bach as Ingrid Haebler is to Mozart. Legends
Just at the moment I'm bemoaning Tureck's tempo, she illuminates a hitherto neglected phrase
Sublime. Probably the closest to the original objective of the piece: to sooth a troubled mind.
Excellent recording!
This is Yuan Sheng's teacher-Yuan Sheng has,to me,the best rendering of this work .He made me like it!
O9oo90ppp
I can understand, and I agree with you that her tempi can be excessively slow!
No this performance as a Gesamtkunstwerk is perfection.
it is still can be heard as a dance
Wonderful !
Mil gracias
Tureck's Bach is dancing
Briljant! Very impressive and very original. Comparable with Glenn Gould, but much more feminine. This is one of the best Goldberg variations I have ever heard. I feel deeply touched by this artist. Thanks for this bliss!
This the performance of a musical zen master.
Meraviglia!
From film "English Patient" -Anthony Mingiela
Gould even slowed his Goldberg Variations later in his life due to the control of emotional output he has.
+LinkBulletBill His tempo choices for his later recording had absolutely nothing to do with emotion actually. It was solely based on using a common rhythmic pulse or a variation of such.
+LinkBulletBill His tempo choices for his later recording had absolutely nothing to do with emotion actually. It was solely based on using a common rhythmic pulse or a variation of such.
piano1500 >implying there was no emotion involved.
That info is based on an in-depth interview he gave explaining his choice of tempi for that recording. The interview can be found on the recording itself.
piano1500 >implying there's no emotion as if he said it himself "I played with no emotion and intended it to have no emotion"
she was beautiful!! :)
넘 아름다운 선율.
복잡했던 마음이 그냥 모두날아가는듯..
들을수록 무념무상~
추천해준 조카 윤경아 고마워^^
Breathe
Gould's second recording of the GB variations in 1981 was very similar in tempo. I much prefer the slower tempo.
Thank you!
This is so beautiful, that me old atheist have to quote "Go then, and make disciples of all the nations …"
Unbelievably precise tempi!
Sometimes I find her tempi a bit slow and ponderous for my taste, but overall I find Tureck's Bach a good balance between intellect, musicology and musicality...and she often reaches the sublime.
This performance to me transcends any consideration of taste. The only taste that is herein relevant is that of the performer. She is offering us the equivalent of a feast of a consummate chef. Ultimately the taste that is relevant of the chef and the ultimate memory of the performance left with the listener and the final overall taste the listener experiences by the end of this musical feast.
Одно из совершенных исполнений, не знаю как по технике...,но как высоко и тонко по человечески!!!!!
I promise to listen to the whole thing at her tempo. My favorite is still Glen Gould first recording . 1955?
And your opinion now?
@@Geoplanetjanehe’s not finished with the Tureck yet because of the slow tempi. (I kid, I kid.]
These are the real Goldbergs! They are exceptionally boring, romantic and unlike Bach that I fell asleep within 5 minutes. Really brilliant! Woke up luckily when it was finished because I have a busy day.
Lol, I don't agree, but you made me laugh there... 😉
Boring? I think not. Worthy of close attention to the music’s minute detail.
interesting
54:48 slower than Gould's 1955 recording...
Me gustaría escuchar este tempo en el clavecin.
Indudablemente se acerca a lo que sería el motivo de la obra. Recuérdese que fue escrita para uno de los alumnos de Bach que interpretaba música para el conde de Kayserling; éste tenía dificultades para conciliar el sueño y había escuchado que Augusto Cesar, para vencer esa misma dificultad, se hacía interpretar música por una orquesta lejana por lo que ocupaba a Goldberg en ello a través de una pared de su cuarto.
La versión de Gould (la primera), mrvillosa, quién lo duda, es demasiado apasionada para este fin. No dudo que tendría al noble en vilo toda la noche.
Yes. One magnificent aspect of this music is that its interpretations and performances on instruments such the modern concert grand piano can express degrees of profundity that might not have been conceivably possible during the era in which Goldberg would have played these variations for the count.
what sensitivity, clarity, depth
Soft, feminine touch... So sweet!
Divine..
Almost the same tempo as the Gould '81. Gould '81 might be infinitesimally quicker, but the influence is all over the place. Who else but them two have chosen to do the Aria like this? The '55 Gould is of course very different. Maybe he had wait to get to her age to figure it out. Listening to Tureck is like peaking into Gould's secrete library.
Unfortunately Gould did not live as long as Tureck.
I am an admirer of Ms T but honestly I find this mannered beyond belief.
Mannered? Is that pejorative? If so, I wholeheartedly disagree. This is a performance of Bach’s composition in which there is an unmatched clarity of every detail Bach gave to us. Clearly this work existed in her mind and muscle memory in a manner that enabled her to actualize the music in a truly holographic manner that permits the listener to observe the music in both its detail and complexity as if new with each listening episode.
FINALLY a pianist who doesn't play Bach at horse speed!
Stubborn Donkey speed ! But still wonderful with attention to detail.
@@glenngouldification at the speed in which we can observe the universe unfolding far into the reaches of the deepspace past.
Her tempo choices are good.
It is simply such a beauty. I can't complain about the extremely slow tempo at all! However why switching to the opposite, such a fast pace in some variations? As example the 13th. That beautiful variation deserved a bit more delicacy IMHO as listener. Even Gould plays it slower in 1955, but more importantly with such a softness in every note... not to mention Nikolayeva. So everything is open to interpretation
Where is the hiss one usually hears in her recordings of this era?
If you listen at 1.5x speed, this is amazing.
Is she adding additional embellishments to this, or is Gould just not playing them when he performs it? Maybe it goes by faster when Gould is doing it, but I swear her aria sounds like it has a lot of extra notes in it. Not really good or bad, just not what I'm used to.
+tjmsquared She is observing the repeats; Gould did not. First section, repeat, second section, repeat.
A-A-B-B (instead of Gould's A-B), so to speak.
+tjmsquared Yes, she plays ornamentation slightly differently. In Bach, no one ever plays the same piece the same way.
@@mdlouieplus ornamentation, per Bach, or improvised as is often done within the tradition of all Baroque music? Do we know?
Slow tempo !!!?. too much Gould Cocaine perhaps. She was an absolute master , overshadowed by Glenn Gould. The only pianist he admitted to be an influence (quite evident imho). As alien and genius that Gould was, i feel much closer to this rendition now.
You kidding? Gould has repeatedly expressed his admiration for Schnabel (in Beethovens 4th concerto), Rubinstein (in Brahms' Quintet), Richter - amongst others...
Dear, was talking about him admitting influence, not the same as admiring some others. He loved Richter!, that’s right.
dear @@Pogouldangeliwitz , admiration is not the same as "influence" IMHO.Of course he adored Richter!.
@@SergioValenzuela Right, you have a point here!
But what about Schnabel? When he was learning Beethoven's 4th concerto as a teenager, Gould used to play it on the piano along with Schnabel's recording. Now if that isn't an influence!
@@Pogouldangeliwitz You are much more savy about those details!. dind´t know that interesting fact , using Schnabel´s as play along .
I´ve been amused with things like , how he enjoyed playing with the noise of not one, but two vacuum cleaners, as he requested to his maid. :).cheers
Perhaps. How do we know Bach’s intentions regarding tempi?
We don’t. No markings.