Dantone interpretation is easily one of the best I have heard in recent years, and I consider it among the elite harpsichord recordings of the Goldbergs in the catalogs. His interpretations feature a compelling mix of power/energy, rhythmic lift, sharply etched phrasing, poignant refrains, playful episodes, bleak terrains and totally satisfying conversations from Bach's contrapuntal musical lines. I think it is fair to say that Dantone gives us the full measure of Bach's soundworld in excellent sonics that are crisp as well as well as abundantly rich.
In the 21st century, it's easy to take technology for granted and forget that in the time of Johann Sebastian Bach (b. 1685, d. 1750), there were no cars, busses, airplanes, TVs, radios, movies, tape recorders, electric lights, or computers. People used candles to light their homes, and horses were the fastest way to get around. There were excellent plays and opinionated theater critics to review them, but no cameras to film the actors and actresses. Recording technology had yet to be invented, so the only way to hear classical musicians was to hear them performing live. Although the classical artists of Bach's time could not be recorded, they left behind their compositions, and today's classical musicians continue to keep them alive.
The CD combines Bach's Goldberg Variations with the Metamorphosis of Philip Glass and offers a confrontation between two completely different musical worlds.
The arrangement of Bach's Goldberg Variations, BWV 988, for string trio by Russian violinist and composer Dmitry Sitkovetsky has taken on a life of its town, with multiple performances and even a sort of electronic remix by Karlheinz Essl. The appeal for string chamber groups longing to share in Bach's riches is obvious, and for audiences it appears to be another case of Bach's music standing up to whatever you do to it. Like most other annotators, Hyperion's Nigel Simeone tries to claim that the arrangement is on a par with the numerous transcriptions Bach made of his own works. It is no such thing; the string chamber texture by its nature adds expressive devices that were not of Bach's world, and he would have found Sitkovetsky's version bizarre.
Pianist Lars Vogt presents one of the classic works of the Baroque repertoire – Johann Sebastian Bach’s (1685–1750) famous Goldberg Variations. Originally written for the harpsichord the Goldberg Variations, published in 1741, embody an Aria with 30 variations and a coda. Bach wrote the work for Johann Gottlieb Goldberg, who, as the narrative says, often played music as a cure for Count Kaiserling’s insomnia. Apparently the work was one of the successes that Bach had during his lifetime and it was also published during his lifetime.