Shop now Shop now Shop now  Up to 70% Off Fashion  Shop all Amazon Fashion Cloud Drive Photos Shop now Learn More Shop now Shop now Shop Fire Shop Kindle Shop now Shop now Shop now

More Options
Bach, J.S.: Goldberg Variations, BWV 988 (UK Version)
 
Zoom
See larger image (with zoom)
 

Bach, J.S.: Goldberg Variations, BWV 988 (UK Version)

26 Jan. 2009 | Format: MP3

£7.99 (VAT included if applicable)
Also available in CD Format
Song Title
Time
Popularity  
30
1
3:33
30
2
1:27
30
3
1:59
30
4
1:26
30
5
1:17
30
6
0:48
30
7
1:24
30
8
2:18
30
9
0:59
30
10
1:34
30
11
1:00
30
12
0:57
30
13
2:10
30
14
2:47
30
15
1:11
30
16
3:48
30
17
3:37
30
18
1:35
30
19
1:19
30
20
1:16
30
21
1:19
30
22
2:12
30
23
1:30
30
24
1:13
30
25
3:11
30
26
7:12
30
27
1:23
30
28
1:53
30
29
1:10
30
30
1:09
30
31
2:05
30
32
2:53
Your Amazon Music account is currently associated with a different marketplace. To enjoy Prime Music, go to Your Music Library and transfer your account to Amazon.co.uk (UK).
  

Product details

  • Original Release Date: 1 Jan. 2008
  • Release Date: 26 Jan. 2009
  • Label: Decca (UMO)
  • Copyright: (C) 2008 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 1:03:35
  • Genres:
  • ASIN: B001QWJNRW
  • Average Customer Review: 4.8 out of 5 stars 30 customer reviews
  • Amazon Bestsellers Rank: 68,937 in Albums (See Top 100 in Albums)

Customer Reviews

4.8 out of 5 stars
Share your thoughts with other customers

Top Customer Reviews

Format: Audio CD Verified Purchase
The scholarship and technique involved in this performance are astounding. The music is beautiful, haunting and challenging by turns.

But I am very disappointed with the final product. The better the system that you play this through the worse it sounds. It's full and dense over the internet sampling download, but oppressive and distorted when purchased and played through a set of £1000+ B&W speakers!

DG have attempted to provide a luminous and full bodied sound to Catrin's harp, but they appear to have over-saturated the recording at a number of points and the mike placements / processing have ended up with a two dimensional sound, when artful recording techniques can provide an illusion of depth. For exemplary stringed instrument recording I would refer the reader to Julian Bream's wonderful early '80s recordings for RCA of spanish classics by Albeniz and Granados.

Bach would be fascinated and fully supportive of the musical endeavour here and would be bowled over to hear the music in a room with no sign of a musical instrument.

But DG have failed to use musical recording techniques. I wonder if Naxos might have done better with a simpler method.

Five stars for the music and 1 star for the production; that averages out at three stars - but doesn't tell the real story!
6 Comments 14 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
Parts of this work wonderfully well and the parts that don't work so well (where the two hands are getting in each other's way at speed) are technically astonishing. Musically though I wish Catrin Finch hadn't decided to put in obvious rallentandos at the end of so many of the variations. For me it's an irritating interruption to what should have the arc of a single journey - the train slows down too often. I drove for an hour in not very auspicious weather to hear it live and it was worth it but I won't want to listen much to the CD except to remember that it can be done. But if the stop/start doesn't bother you give it a try - you do feel you've been somewhere and it does have a full sense of arrival when she gets to the final variation.
Comment 7 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD Verified Purchase
I already had different versions of these variations on a single theme along with Bach's other keyboard works, mostly written as studies in counterpoint but now generally regarded as worthy of performance in their own right. So why would I buy another? Apart from the fact that Catrin Finch was brought up in the same village I used to live in, I was curious as to how this music would sound on the harp. Originally written with the harpsichord in mind, the keyboard pieces are generally performed today on piano, though The Art of the Fugue, with no instrument specified, also has a good modern representation for string quartet.

As well as being played straight, the pieces are often transcribed as with the renditions by Glenn Gould, hailed by some as brilliant and by others as eccentric. I have Gould's Goldberg as well as his recordings of other pieces, my favourite being the Two- and Three-part Inventions, in spite of the fact that you can hear him humming along and speaking to the piano as he plays! Finch follows Gould in transcribing the Goldberg Variations for her instrument, allowing her to adapt performance to suit its peculiarities. This works well for some variations and less well for others. (You can listen to the Aria on You-Tube)

So I'm glad to have added this to the range of Bach renditions in my collection. It remains to be seen how often it will return to my music player once I've adapted to the novelty of it. Those performances that do are the ones that, over time, seem to lead to greater depths of engagement with this very deep music. I listen to them for the way they unravel a complexity that never fully resolves itself.

That they reach real depths that are hard to explain is a view shared by those who have much more musical knowledge than I.
Read more ›
Comment 3 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse
Format: Audio CD
How the mighty have fallen. Catrin Finch may have got on the `Yellow Label', but the Deutsche Grammophon of old it ain't. The film of the making of this album shows her entering the offices of `parent company' Universal Music, and taking with them. The talk is about reaching out to the rock pop culture audience, especially in Germany. The Deutsche Grammophon label appears to be just a yellow sticker to place somewhere on CD box these days. Catrin gets a makeover for a photoshoot. Black hair and leather. Very German rock chic. But also, big eyes, powerful features, and slender frame: very like Patti Smith in her late 1970's heyday.

The music of course, has nothing to do with the look, and no matter how many candles they put in the video with Catrin playing this music, no one hearing it will think that there is some classical/goth crossover thing going on here either.

Catrin Finch has approaches Bach's Air and 30 variations through Glen Gould's interpretations. Gould homed in on the melody, and let everything else fend for itself. No doubt knowing that this was safe to do with the work of a master like Bach. A recording of his 1981 performance shows him seated low on his chair by the piano, reaching up to the keys, lost in the music and cooing along with the birdsong like melody he coaxes out of the Aria on which the variations are based. In the video of Catrin the similarity between Gould's playing and her own can be seen in the loving way she caresses sound from her instrument.

Gould never apologised for playing a piano, and Catrin is not about to apologise for playing a harp. She revels in it's sound. Every gorgeous chiming, reverberating note. She is not interested in bending her harp to Bach's keyboard music.
Read more ›
Comment 5 people found this helpful. Was this review helpful to you? Yes No Sending feedback...
Thank you for your feedback.
Sorry, we failed to record your vote. Please try again
Report abuse

Most Recent Customer Reviews



Look for similar items by category