State of Wonder: The Complete Goldberg Variations
(1955 & 1981)

Performer:	Glenn Gould, pianist	Click Image To See Full Size Pic
CD Title:	State of Wonder: The Complete Goldberg Variations
Composer:	Johann Sebastian Bach
CD INFO:	Columbia/Legacy/Sony Classical AS3K 87703
Reviewer:	John L. Holubiak

Listen to Soundtracks From This CD 1955 Recording - Variation 1 1955 Recording Variation 5 1955 Recording Variations 15 1981 Recording Variations 1 1981 Recording Variation 5 1981 Recording Variation 15

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Review:
A glance at the World’s Encyclopedia of Recorded Music (3 Volumes, the major reference work for recordings prior to 1956) reveals a small number of recordings of the Goldberg Variations, four versions performed on piano. Beside Gould’s recording on Columbia there was also Rosalyn Tureck’s first recording on Allegro-Elite, Jörg Demus on Westminster and Gunnar Johansen’s (on a dual keyboard piano) on Artist Direct. Gould’s recording created a sensation and helped launch his international career. It is still the preferred version of many listeners.

The comparison of Gould’s two recordings has been a theme ever since the appearance of the second in 1982 (my earlier CD issue of the second recording (MK 37779) contains a photo from both recording sessions side-by-side). This is not the first time they have been coupled together in a collection (it appears to be a first for CD), although never before in my experience has it been easier to compare the two versions variation by variation. Each version of the Goldberg Variations is contained on a separate CD, and contains 32 tracks. As I like to do, I listened to both versions through speakers and earphones (I use an inexpensive Sony set for the latter that very comfortably clip on the ear). But as I also have a CD changer, I was able to switch between the discs comparing each variation.

My preference is for the second version. I was eager to hear the first recording again, since my memories of it were somewhat negative—fast variations seemed rushed and blurred while slower ones lacked repose. My impression on hearing it was more favorable—there is a definite feeling of fun and high spirits in his playing, but in the Aria and every variation I still prefer the second recording. Some variations (in particular, 5 and 20) still sound rushed, but where the second version scores favorably for me time after time is in matters of phrasing, color and dynamics. Inner voices emerge in the later recording that simply aren’t heard in the earlier one. Bass lines have added point or richer sonority. The improved sound of the later recording certainly aids this impression, but it doesn’t account for it completely. It is as if Gould has examined every note of the piece and established its context within a variation and each variation within the overall structure of the work. This integrated view of the work can be heard in the way variations flow into one another and the effect is ruined when switching back and forth between the recordings. It seems to go as far as the soundstage of the recording, with some variations projecting more forward than others, as if Gould varied the microphone placement with each variation.

The recordings differ in another way. The timing differences between the recordings is not just a matter of slower tempi. In the 1955 recording, Gould plays no repeats, while in the 1981 recording he repeats the first half of variations 3, 4, 6, 9, 10, 12, 15, 18, 21, 22, 24, 27 and 30.

Sonically, the 1955 recording is good, and its somewhat light bass adds to the buoyancy of the performance. It doesn’t interfere with one’s enjoyment, although the technology may not have been able to capture some of the inner voices in the music. I do not have any other versions of this recording so I cannot compare this mastering to any other CD edition, but I would expect it to be an improvement on the early Columbia Legendary Performances CD and at least as good as the Glenn Gould Edition re-issue. I found the sound of the 1981 recording to be slightly improved over my earlier CD, with added clarity and mid-range color. The differences were very small. However, that earlier CD had only one track (and 32 index points) and I couldn’t program it to permit side-by-side comparisons. This programmability may be an important point for some listeners—it would be if you liked to discuss Gould with your friends.

I understand this recording will be priced at $19.98 and include a deluxe booklet (which was not included with my review copy). If you are new to Gould’s art, this set is a steal as you receive some fascinating extras along with the two recordings for little more than the price of one disc. If you have one or both of the recordings on CD, then the choice is more problematic and could be based on disc layout or the bonus disc.

Speaking of the bonus disc, it makes for good listening. The interview with Tim Page was scripted, but Gould sounds open and honest when talking about his earlier and later recording and compares the excerpts from the two. This is something one probably wouldn’t want to play often but it holds up its 50+ minutes well. I wish the producers could have found a few more outtakes and banded them separately. They capture the fun of the sessions and the Gould of 22 sounds every bit as mature as the Gould of 26 years later. His improvisation of a theme God Save the King and another from the Star-Spangled Banner is special. Gould the brilliant and inquisitive. I’ll return to it again and share it with friends.

Track timings of Glenn Gould’s recordings of the Goldberg Variations