Product Details
Binding : Audio CD
EAN : 0089408069222
Label : Telarc
Number of Discs : 1
Product Group : Music
Release Date : 2008-01-29
Running Time : 78minutes
UPC : 089408069222
ASIN : B000SQJ2X2
Track Listings for
Disc-1
1. Aria
2. Variation 1
3. Variation 2
4. Variation 3 - Canone all'Unisono
5. Variation 4
6. Variation 5
7. Variation 6 - Canone alla Seconda
8. Variation 7
9. Variation 8
10. Variation 9 - Canone alla Terza
11. Variation 10 - Fughetta
12. Variation 11
13. Variation 12 - Canone alla Quarta
14. Variation 13
15. Variation 14
16. Variation 15
17. Variation 16 - Canone alla Quinta
18. Variation 17
19. Variation 18 - Canone alla Sesta
20. Variation 19
21. Variation 20
22. Variation 21 - Canone alla Settima
23. Variation 22
24. Variation 23
25. Variation 24 - Canone all'Ottava
26. Variation 25
27. Variation 26
28. Variation 27 - Canone alla Nona
29. Variation 28
30. Variation 29
31. Variation 30 - Quodilbet
32. Aria
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Editorial Reviews
Amazon.com
This is destined to be one of the best-remembered and significant classical releases of 2007. Simone (pronounced "See-mo-nuh") Dinnerstein has recently been attracting lots of media attention, from Oprah's magazine to The New York Times. Within a classical-music circuit increasingly unwilling to take artistic risks, hers has been the rare success story. The 30-something pianist (a former student of Peter Serkin), backing herself, wowed critics with some notable concerts and eventually secured the support of a major label to release a self-produced recording Dinnerstein had made in March 2005. This Telarc account of the Goldberg Variations thus marks her solo debut CD (following some earlier collaborations with cellist Zuill Bailey on the Delos label). For once, the publicity is trying to keep up with the musical achievement--rather than the other way around.
Dinnerstein's seriousness of purpose is immediately obvious from her choice of the Bach masterpiece! to make her mark. With the specter of Glenn Gould's own epoch-making 1955 debut playing the same work—not to mention a vast catalog of competing interpretations—Dinnerstein is nothing if not bold. But what's really extraordinary here is the liberating sense she conveys of its not having all been said before—without resorting to tiresome idiosyncrasies to stand apart from the crowd. Her remarkably deliberate way with the opening aria is unusual, to be sure. But it establishes the stakes for what will follow, where Dinnerstein's thoughtfulness and spectacular clarity seem to discover new facets at every turn. Her pianism embraces a prismatic array of touches, whether the feathery lightness of Variation 5, the burbling rhythms of Variation 14, or the tragic weight of the "black pearl" Variation 25. The cumulative effect is exhilarating, intensely moving, and an affirmation of the Goldbergs' infinite variety. --Thomas May
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