1.Rana, Beatrice - Goldberg-Variationen, Aria Mit 30 2.1. Aria 3.2. Variation 1 4.3. Variation 2 5.4. Variation 3: Canon At The Unison 6.5. Variation 4 7.6. Variation 5 8.7. Variation 6: Canon At The Second 9.8. Variation 7: Al Tempo Di Giga 10.9. Variation 8 11.10. Variation 9: Canon At The Third 12.11. Variation 10: Fughetta 13.12. Variation 11 14.13. Variation 12: Canon At The Fourth 15.14. Variation 13 16.15. Variation 14 17.16. Variation 15: Canon At The Fifth
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1.17. Variation 16: Ouvertuere 2.18. Variation 17 3.19. Variation 18: Canon At The Sixth 4.20. Variation 19 5.21. Variation 20 6.22. Variation 21: Canon At The Seventh 7.23. Variation 22: Alla Breve 8.24. Variation 23 9.25. Variation 24: Canon At The Octave 10.26. Variation 25 11.27. Variation 26 12.28. Variation 27: Canon At The Ninth 13.29. Variation 28 14.30. Variation 29 15.31. Variation 30 Quodlibet 16.32. Aria
Daniel Barenboim has written that: "If one wishes to play Bach on the piano, the piano must be used like an orchestra," and suggests that different moments in the Goldberg Variations should evoke a trumpet, a harpsichord or even a human voice. This live recording was made in Barenboim's native Buenos Aires at the magnificent Teatro Colon, where "one can play for more than 3,000 people, yet feel the intimate surroundings of a small room."
Szczyt barokowej sztuki klawiszowej: "Wariacje Goldbergowskie" Bacha łączą tradycje włoskie, francuskie i niemieckie w muzyce klawiszowej, tworząc wyjątkowe bogactwo stylistyczne. Wymagają także wyjątkowego balansu pomiędzy czystym wyczuciem struktury [...]
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