2.Aria 3.Variation NR. 1 4.Variation NR. 2 5.Variation NR. 3 Canon On The Unisono 6.Variation NR. 4 7.Variation NR. 5 8.Variation NR. 6 Canon On The Second 9.Variation NR. 7 10.Variation NR. 8 11.Variation NR. 9 Canon On The Third 12.Variation NR. 10 Fughetta 13.Variation NR. 11 14.Variation NR. 12 Canon On The Fourth 15.Variation NR. 13 16.Variation NR. 14 17.Variation NR. 15 Canon On The Fifth 18.Variation NR. 16 Overture 19.Variation NR. 17 20.Variation NR. 18 Canon On The Sixth 21.Variation NR. 19 22.Variation NR. 20 23.Variation NR. 21 Canon On The Seventh 24.Variation NR. 22 25.Variation NR. 23 26.Variation NR. 24 Canon On The Octave 27.Variation NR. 25 28.Variation NR. 26 29.Variation NR. 27 Canon On The Ninth 30.Variation NR. 28 31.Variation NR. 29 32.Variation NR. 30 Quodlibet 33.Araia Da Capo
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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