(分享)Alexandre Tharaud - Bach Goldberg Variation（A/V，2015）

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Alexandre Tharaud 演绎的 Bach Goldberg Variation 巴赫哥德堡变奏曲，高清音频[24-96]+高清视频[1280x720]

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关于本碟的英文介绍，不翻译了，各位自取~
When Alexandre Tharaud, the finest pianist of his generation for miniatures, recorded the Goldberg Variations, expectations ran high. From this miniatures master one might expect each variation to be treated as an individual gem, but perhaps at the expense of the proverbial “long line”. Tharaud’s performance quickly makes nonsense of such speculations: He clearly plays one piece, not 32. He plays–so it initially seems–at an almost unyielding swift clip. Is Tharaud aiming at Glenn Gould’s 40-minute mark? A whopping 75-minute playtime tells us “No”. This is aurally confirmed when we hit Variation 9, the first time Tharaud takes something resembling a break from his quick pace. He appears to snap right back, a tempo as it were, when it turns out that the sense of momentum isn’t so much due to a “clip” but to the pulse he threads into the music.
Tharaud’s playing is lively even at slower speeds, which makes it deceptively (deliciously) alive and palpitating. The rest of the considerable playtime is due to the fact that there’s no repeat-skipping here. With the Variations crisply fired out, kept in place by the steadiness of the rhythm, these Goldbergs establish themselves as the polar opposite to Tzimon Barto’s wilful, lingering, one-variation-at-a-time, must-hear account (Capriccio).
While Tharaud also gives each Variation its own character, each piece of the puzzle locks neatly into the next. In that sense it is almost as if Tharaud only had the long line in sight. That’s until he arrives at the Da capo Aria, which is suddenly, almost surprisingly shaped in a much more genteel, softer, elegantly romantic style, as if it were a summation of who he is as a pianist. It is only on visiting individual Variations that the more particular shaping that belies this over-all impression comes to the fore.
As in Variation 13, for example, which then reveals a trademark “Tharaud-loveliness”, in an understated way. Or in Variation 16, with its pompous little bluster of an orchestral overture. To be sure, if the name on the cover were someone else’s, I might have dismissed this on first hearing. Because it is Tharaud, I went on a quest of exploration that scrutinized my listening as much as his playing. Such closer scrutiny often–not always–yields benefits. Here they are considerable. Accounts that wear their qualities more obviously on their sleeves will probably remain my favorites, but this will be my greatly cherished corrective.
-classicstoday-

The pianist Alexandre Tharaud reportedly withdrew for months from concert life to prepare for this recording of Bach's monumental Goldberg Variations, BWV 988. His efforts are evident in the performance, in which every variation has some carefully considered turn. What keeps the performance from seeming fussy is Tharaud's attention to overall architecture, which is original and even bold. He is circumspect in the earlier variations, playing precisely and a bit deliberately. The work's climaxes come not in the slow variations in the later part of the work, which here are more nocturnes than mysterious oracles that seek to break on through to the other side, but in the faster variations, whose increasing contrapuntal density is unerringly detailed and spun into colors of deeper brilliance. It's hard to pick out one variation that gives the flavor of a performance as well-woven as this one, but sample the later canons, where Tharaud's left hand radiates forth brilliantly. Fine sound from Erato/Warner Classics engineers, working at the Aix-en-Provence Conservatory, is a major attraction, as is the presence of a DVD that shows Tharaud's intense concentration memorably. A major breakthrough for this artist, and a worthwhile Goldberg Variations by any standard.
-allmusic-

Alexandre Tharaud，法国钢琴家， bolite 博主介绍过，再补个英文的


For Harmonia Mundi, Alexandre made a series of successful and award winning recordings which included discs of Rameau, Ravel (complete piano works), Bach (Italian Concerti), Couperin, Satie. He has recorded a series of Chopin discs; the complete waltzes and twenty four preludes as well as a personal selection, Journal Intime, which marked his first release with EMI Classics. Subsequent, award winning releases include JS Bach’s keyboard concertos and a selection of Scarlatti’s sonatas.
In recent seasons, Alexandre has appeared at the K?ln Philharmonie, Bern Casino, Essen Philharmonie, South Bank piano series, Rudolfinum in Prague, Krakow Philharmonic, Théatre des Champs-Elysées, Cité de la Musique, Concertgebouw in Amsterdam, Teatro Colón in Buenos Aires, John F Kennedy Centre and Hoam Art Hall in Seoul. His festival credits include ‘Piano aux Jacobins', La Roque d'Anthéron, BBC PROMS, Lufthansa Festival of Baroque Music, Sacrum-Profanum in Krakow, Schleswig-Holstein and the Rimini festival.
Alexandre is a Resident Artist at the MC2 in Grenoble, and was the Artistic Director of the Amadeus festival in Switzerland in 2011.
As a soloist, Alexandre has performed with the Symphonieorchester des Bayerischen Rundfunks, Münchner Rundfunkorchester, Orchestre Philharmonique de Radio-France, Orchestre National de France, Orchestre du Capitole de Toulouse, Orchestre National de Lyon, Orchestre National de Lille, Orchestre National de Bordeaux-Aquitaine, Estonian National Symphony Orchestra, Orquestra Sinfonica do Estado de Sao Paulo, Umea Symphony Orchestra, Netherlands Chamber Orchestra, the Rundfunk-Sinfonieorchester Saarbrücken,
Japan Philharmonic Orchestra, Tokyo Metropolitan Orchestra, Singapore Symphony Orchestra, Ta?wan National Symphony Orchestra, Malaysian Philharmonic Orchestra, Les Violons du Roy and the Bolchoi Theatre Orchestra. Next season will see him perform Poulenc’s concerto with the London Philharmonic Orchestra.
His close collaboration with cellist Jean-Guihen Queyras has led to invitations to perform at the most prestigious halls around the world and recordings of three successful CDs (Hungarian cello music, Arpeggione, Debussy/Poulenc).
Alexandre's adventurous approach to programming has resulted in a number of commissions and premières; he has toured extensively in Europe with his ‘Hommages à Rameau' and ‘Hommage à Couperin' programmes which feature works by the old masters interwoven with tributes by contemporary composers. May saw the premiere of Pianosong; a selection of contemporary works composed after popular songs from the 1960s-80s. He has also just premiered French composer Gérard Pesson’s new piano concerto, together with the Tonhalle.

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