Pascal Dubreuil - Bach: Goldberg Variations (2016) [Hi-Res]

Tracklist
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01. Goldberg Variations, BWV 988: Aria
02. Goldberg Variations, BWV 988: Variatio 1
03. Goldberg Variations, BWV 988: Variatio 2
04. Goldberg Variations, BWV 988: Variatio 3, Canone all unisuono
05. Goldberg Variations, BWV 988: Variatio 4
06. Goldberg Variations, BWV 988: Variatio 5
07. Goldberg Variations, BWV 988: Variatio 6, Canone alla seconda
08. Goldberg Variations, BWV 988: Variatio 7, Al tempo di giga
09. Goldberg Variations, BWV 988: Variatio 8
10. Goldberg Variations, BWV 988: Variatio 9, Canone alla terza
11. Goldberg Variations, BWV 988: Variatio 10, Fugetta
12. Goldberg Variations, BWV 988: Variatio 11
13. Goldberg Variations, BWV 988: Variatio 12, Canone alla quarta
14. Goldberg Variations, BWV 988: Variatio 13
15. Goldberg Variations, BWV 988: Variatio 14
16. Goldberg Variations, BWV 988: Variatio 15, Canone alla quinta
17. Goldberg Variations, BWV 988: Variatio 16, Ouverture
18. Goldberg Variations, BWV 988: Variatio 17
19. Goldberg Variations, BWV 988: Variatio 18, Canone alla sexta
20. Goldberg Variations, BWV 988: Variatio 19
21. Goldberg Variations, BWV 988: Variatio 20
22. Goldberg Variations, BWV 988: Variatio 21
23. Goldberg Variations, BWV 988: Variatio 22, Alla breve
24. Goldberg Variations, BWV 988: Variatio 23
25. Goldberg Variations, BWV 988: Variatio 24, Canone all ottava
26. Goldberg Variations, BWV 988: Variatio 25, Adagio
27. Goldberg Variations, BWV 988: Variatio 26
28. Goldberg Variations, BWV 988: Variatio 27, Canone alla nona
29. Goldberg Variations, BWV 988: Variatio 28
30. Goldberg Variations, BWV 988: Variatio 29
31. Goldberg Variations, BWV 988: Variatio 30, Quodlibet
32. Goldberg Variations, BWV 988: Aria da capo

The Goldberg Variations followed the first three parts of Johann Sebastian Bach’s Clavier-Übung. The title page presents the work as a ‘Keyboard exercise consisting of an Aria with diverse variations for harpsichord with two manuals...’ Forkel, in his biography of the composer, relates that these variations were composed at the request of the Count von Keyserlingk so that his harpsichordist, Johann Gottlieb Goldberg, might play a few of them during the insomnias that often disturbed the Count’s nights. But no concrete element has come down to us to verify Forkel’s remarks. The exceptional virtuosity required by this work also leads one to think that it was perhaps a sort of response to Domenico Scarlatti’s publication of 30 of his Essercizi in 1738, which also exploit, but to a lesser degree, aspects of keyboard technique not yet in common use at the time. These technical aspects as well as the sublime eloquence, the genius of the counterpoint and the inexhaustible variety of the variations combine to make this one of the summits of the genre.

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