2007 has been a banner year for Goldbergs; no less than five recorded versions of the piece had appeared by the end of July, including a digitally reinterpreted incarnation of
Glenn Gould's famous 1955 recording and Wilhelm Middelschulte's bizarre, psychedelic 1924 transcription of the work for organ. In the face of such circumstances, no one would blame music critics for throwing up their hands and saying something like "enough already!" Nevertheless, thankfully the Goldberg Variations is not that kind of a piece, its appeal is both immutable and universal. Ultimately it comes down to the personality of the keyboard player to make something out of the Goldberg Variations that stands apart from the pack, and young pianist
Simone Dinnerstein has managed to do that with her glorious rendering of
Bach's cycle for Telarc. Her rendering of the Aria is slower than the norm and her approach to tempo throughout is very elastic; there is nothing rigid about her interpretation of the work.
Dinnerstein's reading involves a great deal of give and take, seeking to deepen the expressive potential of
Bach's music without losing sight of its basic shape.
Dinnerstein's Goldbergs might be a tad bit Dionysiac for those who like them at a more Apollonian pace, but if one is willing to let go and luxuriate in her romantically inclined performance, played on a 1903 Steinway model "D" concert grand with a rich, generous tone, then this will prove highly satisfactory. Telarc hasn't made very many solo piano recordings to date, and this one has excellent sound -- perhaps this is the beginning of a new trend? If so, it's certainly a welcome one.