THE GOLDBERG VARIATIONS Johann Sebastian Bach
Fabio Bonizzoni
GCD P31508
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Performing artists
Fabio Bonizzoni, harpsichord
Production details
Playing time: 79’05 Recorded at Chiesa del Colletto, Roletto (Italy), in May 2004 Engineered by Adriaan Verstijnen Produced by Tini Mathot Executive producer: Carlos Céster Editorial assistant: María Díaz Cover design & illustrations: oficina tresminutos 00:03:00 Booklet essays: Stefano Russomanno and Reduán Ortega Booklet in English-Français-Español-Deutsch
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Commercial release sheet (PDF)
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JOHANN SEBASTIAN BACH (1685-1750)
Goldberg Variations, BWV 988
aria variatio 1 variatio 2 variatio 3 - canone all'unisono variatio 4 variatio 5 variatio 6 - canone alla seconda variatio 7 - al tempo di giga variatio 8 variatio 9 - canone alla terza variatio 10 - fughetta variatio 11 variatio 12 - canone alla quarta variatio 13 variatio 14 variatio 15 - canone alla quinta variatio 16 - ouverture variatio 17 variatio 18 - canone alla sexta variatio 19 variatio 20 variatio 21 - canone alla settima variatio 22 - alla breve variatio 23 variatio 24 - canone all'ottava variatio 25 - adagio variatio 26 variatio 27 - canone alla nona variatio 28 variatio 29 variatio 30 - quodlibet aria da capo
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En esta nueva etapa de Glossa, iniciada este año, en la que apostamos exclusivamente por grabaciones que, aportando siempre algo nuevo, perduren en la memoria del amante de la música y esquiven los implacables envites de las nuevas leyes del mercado –dicho de otra forma, elevando aún más nuestras ya de por sí inusualmente altas exigencias de calidad–, parece que presentar una nueva versión de las Variaciones Goldberg significa, cuando menos, una apuesta arriesgada. Les aseguramos que, si no estuviésemos convencidos de ganarla, no habríamos entrado en este proyecto.
La grabación habla por sí sola, y es sólo cuestión de meses para que comparta el Olimpo de las Goldberg con Gould, Leonhardt, Tureck, Hantaï. Y es que, por dífícil que parezca, Bonizzoni consigue aportar una nueva visión, que huye de todo efectismo o extravagancia para presentar una versión mágica, inteligente, sutil, sólida, coherente y actual. Y todo confluye para lograr con esta joya ese disfrute intelectual que sólo las obras de arte más grandes pueden inducir: la música, la interpretación, el sonido, la presentación (su inclusión en nuestra colección más contemporánea, Platinum, es toda una declaración de principios), los ensayos... ensayos que merecen mención aparte, porque tanto Stefano Russomanno como Reduán Ortega también consiguen lo casi inalcanzable: enriquecer aún más el mágico halo que rodea a la mejor composición de todoslos tiempos.
Fabio Bonizzoni’s attention on record to the music of Handel - which has, thus far, yielded seven discs devoted to the early Italian-texted cantatas - has just now had the good fortune to receive this year’s Stanley Sadie Handel Recording Prize for Apollo e Dafne, the final release in the present series for Glossa. This is the third time that Bonizzoni and his period-instrument ensemble La Risonanza have won this prestigious prize for their series of “Le Cantate Italiane di Handel” (previous winners were the first release, Le Cantate per il Cardinal Pamphili and the fifth, Clori, Tirsi e Fileno); three other recordings have also featured as runners-up. [read more...]
Fabio Bonizzoni’s series, with La Risonanza, of Handel Italian cantate con stromenti for Glossa has now come to a conclusion with seven volumes recorded, but not before the group were awarded the 2010 Stanley Sadie Handel Recording Prize for the fifth instalment, Clori, Tirsi e Fileno (with sopranos Yetzabel Arias Fernández and Roberta Invernizzi and contralto Romina Basso in the three named roles). In commending the disc the jury of the Recording Prize made the following comments, “La Risonanza produces a delightful performance that presents all of the strengths and virtues we have come to associate with their recent explorations of Handel’s music. [read more...]
In the third instalment in Fabio Bonizzoni’s survey of the secular cantatas with instrumental accompaniment composed by Georg Frideric Handel during his stay in Italy, come a quartet of works associated with the Venice-born maecenas Pietro Ottoboni – including the substantial Ero e Leandro, the libretto for which is plausibly considered to have been written by the Cardinal Ottoboni himself. As well as the seldom-performed cantata for bass, Spande ancora a mio dispetto and Ah! Crudel, nel pianto mio scored for soprano solo, Bonizzoni also directs the Spanish-texted No se emendará jamás.[read more...]