I've been collecting Goldbergs looking for an ultimate Goldberg. I won't get into details, but I've acquired goldbergs by Pierre Hantaï (2 sets), Jory Vinocur (SACD), Ralph Kirkpatrick, Gustave Leonhardt, Scott Ross, Ketil Haugsend, Blandine Verlet, Christiane Jacottet, Kenneth Gilbert and others too numerous to name, but the one that has leapt to the forefront is the one by Céline Frisch. What a pleasure listening to her play! Although I haven't tracked down a Rousset Goldberg yet (and I have great hopes that Decca will reissue it), I doubt that it will supplant this one but if it is good enough, join it as the co-favorite. This one is really that good! I haven't been so excited about a harpsichord recording since I picked up Rousset's English Suites way back when (actually a just a few short months ago).
First: Sound quality of this recording is excellent. She is playing a modern harpsichord that has a wonderfully warm and sonorous tone. There is not a tinny note on that instrument and the notes have that same "float through the air" quality that Rousset's wonderful Rucker has. Some of these notes are so irridescent that I think of wonderful soap bubbles being caught in the light streaming through a darkened room, just glowing until they suddenly vanish.
Second: Interpretation is absolutely top notch! There is great rhythmic drive; this is not your grandmother's Bach. Tempos are quick without being rushed with all of the voices clearly articulated. The dance rhythms are firmly stated and they flow much as the dance flows and are extremely sensual. I'm sure that she's listened to her fellow Canadians Gould and Hewitt along with a lot of other Goldbergs. She has the advantage of at least one of the two in that she isn't compelled to tunelessly hum along so there is no distraction, which is really important as it means that nothing gets in the way of the music. As I write this, Variation 20 is rippling across the ether towards me. What a tour-de-force! And the slow variations are just executed with such deliberation and grace, they are like the kiss of a lover upon the ear. Ornamentation is perfect, it never feels superfluous or didactic as I have found it can. This is very intimate Bach, Bach for the bedroom (or boudoir) rather than Bach for the church or museum. That is probably the most striking quality of this recording, it's intimacy: just music and performer and listener. If Rousset's performances can be characterized as extroverted and social, these are equally so, but without some of his theatricality even while there is no lack of drama. Btw, for all of you purists, she takes all of the repeats and if it's just an engineer replaying tracks, it's got me fooled.
Bonus: There is a second cd (which I haven't bothered to listen to yet as I can't get enough of the Goldbergs) which includes 14 Canons on the 8 first notes of the opening Aria, BWV 1087 and two songs from the period which were actually the basis or inspiration for the Aria according to the notes. I'll get around to that after I've thoroughly steeped myself in the Goldbergs.
Packaging: Beautiful 2 disc digipak with booklet. When you open it, first you see the famous portrait of Bach and opposite, a detail of the score of the Goldbergs. Open the leaves, and the interior and you see a beautiful painting of Samuel van Hoogstraten's Quodlibet on the far right and the booklet to the far left framing the 2 cds. Surfaces are covered with a pale green marbled bookbinder's paper pattern. It is so elegant I really wish pictures of the interior were available.
