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Great Pianists of the 20th Century - Rosalyn Tureck


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Disc: 1
1. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Aria
2. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation I. a 1 Clav.
3. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation II. a 1 Clav.
4. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation III. Canone all'Unisono a 1 Clav.
5. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation IV. a 1 Clav.
6. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation V. a 1 ovvero 2 Clav.
7. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VI. Canone alla Seconda a 1 Clav.
8. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VII. a 1 ovvero 2 Clav. Al tempo di Giga
9. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation VIII. a 2 Clav.
10. 'Goldberg' Variations, BWV 988 (Klavierubung IV): Variation IX. Canone alla Terza a 1 Clav.
See all 26 tracks on this disc
Disc: 2
1. 'Goldberg' Variations: Variation XXVI. a 2 Clav.
2. 'Goldberg' Variations: Variation XXVII. Canone alla Nona a 2 Clav.
3. 'Goldberg' Variations: Variation XXVIII. a 2 Clav.
4. 'Goldberg' Variations: Variation XXIX. a 1 ovvero 2 Clav.
5. 'Goldberg' Variations: Variation XXX. Quodlibet a 1 Clav.
6. 'Goldberg' Variations: Aria
7. French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 1. Ouverture
8. French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 2. Courante
9. French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 3. Gavotte I & II
10. French Overture (Partita) In B Minor, BWV 831 (From: Klavierubung II): 4. Passepied I & II
See all 21 tracks on this disc

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Amazon.com: 4 reviews
9 of 9 people found the following review helpful
Very special 29 Nov. 2005
By Bach lover - Published on Amazon.com
Rosalyn Tureck's playing here is quintessentially measured and impeccably controlled. This allows many special moments to shine through. The canons in the Goldberg Variations are particularly gentle yet rigorous, especially the minor-key ones. The transfer from the bleak Variation 21 to the sublimely joyful Variation 22, for instance, gains great unshakeability from her methodical and perfectionist stance. This is not her fastest recording of the Goldbergs - her 1979 recording on VAI has a little more kinetic thrill in Variations 14 and 26, for example - but this recording combines technical perfection with an all-encompassing joy in the music as it unfolds.

The remaining pieces are contrasting but also excellent. The B minor Partita begins with the sort of dotted French Overture that Tureck excels in, and the remaining movements are similarly commanding. She exacts great pathos from the Sarabande, while the Gavotte, Passepied and Bourrée are commendably dance-like and arresting. In the closing Echo, Tureck makes the most of Bach's explicit dynamic contrasts - rare in his output - for an exciting close. I haven't heard a more compelling recording of this long and somewhat disparate work.

The Italian Concerto has boisterous if somewhat heavy outer movements, while the central Andante exhibits Tureck's rich ornamentation and sense of line.

The Duets, rarely recorded, are here given a fairly definitive interpretation which manages to combine contrapuntal rigour with ear-opening textures, especially in the arresting harmonies of No. 4.

Altogether a wonderful exhibition of Tureck's art at possibly its most austere stage - but nevertheless captivating.
6 of 6 people found the following review helpful
Re: Extraordinary 1 Oct. 2010
By R. Kunath - Published on Amazon.com
The Amazon review by Thomas May is excellent and my words in some sense are superfluous (and the other Amazon customer reviews are first-rate too). I'm writing simply to say that you might find something very special in this recording of the Goldberg Variations. I've long loved Bach on the piano, and I've had Gould's Goldbergs since the early 80s, supplemented along the way by Schiff, Hewitt, Dinnerstein, Landowska (on that massive Pleyel harpsichord), and Perahia, all of whom have brought me a lot of pleasure. Rosalyn Tureck wasn't even on my radar until a dear friend, now deceased, loaned me this recording. I listened once, distractedly, and wasn't especially impressed. But then I listened again late one night, and Tureck's performance just opened up for me in a way that I've rarely experienced with any other recording. Tureck was called "The High Priestess of Bach," and that's as much a warning as an honor: there is a sense of the sacral in this recording, and I can well imagine that many Bach lovers will find it intolerably mannered. Angela Hewitt (whose Bach recordings I admire very much) remarked that it took her a long time to appreciate Tureck's Bach because it just seemed "too lugubrious." So be warned: everything that's said about the slow tempi is right. As you listen to the opening Aria--which goes on for an incredible 6:06--you may be inclined to laugh. All I can say is that Tureck's recording opened a new world of Bach for me. The slow tempi and the restrained dynamics create an achingly beautiful study in shades of grey that is filled with a magical, rapt intensity. If you listen to this in the background, during the day, it won't make an impression. Play it at night, in semi-darkness, with a glass of wine, and I think there's at least an even chance you'll be spellbound. I'm so grateful to my friend John for helping me to discover Tureck's amazing artistry.

A small P.S. The review by Bach lover uses the perfect adjective to describe these performances: austere. And it's a passionate austerity that burns white-hot. The listener has to calibrate his or her listening to the restrained dynamics and speeds, but then the fractional shifts become immensely powerful. Any lover of the Goldberg Variations should have this performance!
7 of 10 people found the following review helpful
Great pianist, great pieces 23 Aug. 2000
By "sondheimfan" - Published on Amazon.com
This recording is entitled "Great Pianists of the 20th Century," and that is the only way to describe Rosalyn Tureck's poised, measured and yet brilliantly executed performance of the Bach Goldberg Variations, some of the most time-honored music ever written for the instrument, by a great master of the style, Johann Sebastian Bach. There's really nothing more to say...everything on this recording is, well, great!
1 of 1 people found the following review helpful
Rosalyn Tureck was an influence on the playing style of Glenn Gould and the similarities can be heard in her recordings 8 Feb. 2014
By helohe - Published on Amazon.com
Verified Purchase
Rosalyn Tureck was an influence on the playing style of Glenn Gould and the similarities can be heard in her recordings. She has very clear playing and separation of different voices, and deliberately articulating and highlighting of hidden melodies. Compared to Glenn Gould her playing is slower, but never feels wrong. Bach would be proud.
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