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Goldberg Variations
Bernard Labadie - Bach: Goldberg Variations
01. Goldberg Var, BWV 988: Aria (4:08)
02. Goldberg Var, BWV 988: Var 1 (1:57)
03. Goldberg Var, BWV 988: Var 2 (1:33)
04. Goldberg Var, BWV 988: Var 3: Canone All'unisono (2:28)
05. Goldberg Var, BWV 988: Var 4 (1:02)
06. Goldberg Var, BWV 988: Var 5 (1:42)
07. Goldberg Var, BWV 988: Var 6: Canone Alla Seconda (1:25)
08. Goldberg Var, BWV 988: Var 7 (Al Tempo Di Giga) (2:13)
09. Goldberg Var, BWV 988: Var 8 (1:57)
10. Goldberg Var, BWV 988: Var 9: Canone Alla Terza (1:42)
11. Goldberg Var, BWV 988: Var 10: Fughetta (1:28)
12. Goldberg Var, BWV 988: Var 11 (2:27)
13. Goldberg Var, BWV 988: Var 12: Canone Alla Quarta (2:04)
14. Goldberg Var, BWV 988: Var 13 (6:18)
15. Goldberg Var, BWV 988: Var 14 (2:11)
16. Goldberg Var, BWV 988: Var 15: Canone Alla Quinta (4:05)
17. Goldberg Var, BWV 988: Var 16: Ov (2:47)
18. Goldberg Var, BWV 988: Var 17 (2:27)
19. Goldberg Var, BWV 988: Var 18: Canone Alla Sesta (1:34)
20. Goldberg Var, BWV 988: Var 19 (1:52)
21. Goldberg Var, BWV 988: Var 20 (2:15)
22. Goldberg Var, BWV 988: Var 21: Canone Alla Settima (2:16)
23. Goldberg Var, BWV 988: Var 22 (Alla Breve) (1:13)
24. Goldberg Var, BWV 988: Var 23 (2:40)
25. Goldberg Var, BWV 988: Var 24: Canone All'ottava (2:19)
26. Goldberg Var, BWV 988: Var 25 (5:40)
27. Goldberg Var, BWV 988: Var 26 (2:11)
28. Goldberg Var, BWV 988: Var 27: Canone Alla Nona (2:21)
29. Goldberg Var, BWV 988: Var 28 (3:02)
30. Goldberg Var, BWV 988: Var 29 (2:23)
31. Goldberg Var, BWV 988: Var 30: Quodlibet (1:38)
32. Goldberg Var, BWV 988: Aria (4:12)
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*** very rare ***
Notes and Editorial Reviews
Bernard Labadie's excellent transcription of the Goldberg Variations makes fascinating listening. In arranging the work for strings and continuo (including harpsichord and theorbo), the variations gain in contrast from one to the other, and the result has less of a "passacaglia" feel to it, and more of a "suite" character. The use of violins for the upper lines emphasizes the tunefulness of Bach's melodies, clarifies the counterpoint in the canons, and somehow gives the famous final Quodlibet's popular songs a more "folksy" feel.
Of course, there are drawbacks too: the variations that explore sheer keyboard virtuosity (such as No. 14, or the final group after No. 25) sound rather tame with their brilliant figurations divided up between several players. Then again, on the plus side, there's an extra expressive intensity in the Aria and the slow variations (No. 15, and above all, No. 25, both of which take on the character of such profound slow movements as the "Crucifixus" from the B minor Mass or the second movement of the D minor Harpsichord Concerto).
In short, the sustaining power of the strings makes an effortless legato, critical in Bach's slow music, a matter of course rather than a technical tour-de-force, as is the case with a harpsichord (less so with piano, naturally). Labadie's interpretation (with all the repeats taken) is marvelous: lively, committed, carefully prepared, sensitive to the character of each individual variation, and the playing is spectacular. At 79-and-a-half minutes, this gorgeously recorded, well-filled disc really does shed new light on a familiar masterpiece in a way that is at once respectful and totally engaging.
--David Hurwitz, ClassicsToday.com