Bach - Goldberg Variations - Transcription for Strings (1995)

1	Aria	3:48
2	Variation 1	1:53
3	Variation 2	1:05
4	Variation 3: Canone all'Unisuono	1:40
5	Variation 4	0:55
6	Variation 5	1:13
7	Variation 6: Canone alla Seconda	1:05
8	Variation 7: Al tempo di Giga	1:00
9	Variation 8	1:34
10	Variation 9: Canone all Terza	1:02
11	Variation 10: Fughetta	1:29
12	Variation 11	1:04
13	Variation 12: Canone alla Quarta	1:06
14	Variation 13	2:57
15	Variation 14	2:03
16	Variation 15	3:29
17	Variation 16: Ouverture	3:11
18	Variation 17	0:54
19	Variation 18: Canone alla Sesta	1:31
20	Variation 19	1:59
21	Variation 20	2:09
22	Variation 21: Canone alla Settima	1:31
23	Variation 22: Alla breve	1:09
24	Variation 23	2:10
25	Variation 24: Canone all'Ottava	1:53
26	Variation 25: Adagio	5:44
27	Variation 26	1:04
28	Variation 27: Canone alla None	0:56
29	Variation 28	1:54
30	Variation 29	1:47
31	Variation 30: Quodlibet	1:58
32	Aria da capo	2:25

New European Strings Chamber Orchestra:
Yoko Fujita, Winfried Grabe, George Liener, first violin
Boris Garlitsky, principal second violin
Joachim Wendel, Mikhail Rappoport, Yuri Zhislin, second violin
Ron Ephrat, principal viola
Valentin Slobodeniuk, Hardy Wenzel, viola
Leo Winland, principal cello
Kati Raitinen, cello
Jorg Linowitzki, bass
Brigette Dent-Engelhard, harpsichord

Dmitry Sitkovetsky - concertmaster

The Russian-born violinist Dmitry Sitkovetsky, who founded the New European Strings Chamber Orchestra in 1990, has enthusiastically practiced the art of transcription for many years, producing more than 25 new string arrangements of chamber and keyboard works. This is Sitkovetsky’s first project for Nonesuch, a creative adaptation of Bach’s Goldberg Variations for strings, cast a fresh light on that formidable monument of keyboard music. The New York Times called it “robust, joyous and full of insight.”

The abundance of superbly-trained string players in Russia, the longstanding Russian tradition of encouraging such ensembles, and Sitkovetsky’s great interest in studying orchestration led him to found the NES Chamber Orchestra, who proved to be ideal interpreters. The New Yorker, in a review of this recording, wrote: “[T]he New European Strings Chamber Orchestra combines interpretive insight with exemplary playing; even suspicious purists will hear contrapuntal felicities that keyboard players can only suggest.” ---Editorial Review, nonesuch.com

I generally don't like transcriptions, but this is the exception! My wife brought it home from the public library; and on coming home from work, I heard it playing. What a surprise:wonderful music (of course), an excellent chamber orchestra, and a technically perfect recording. I have never heard the counterpoint so clearly articulated. It is a must have for my collection. --- Gordon L. Struble (San Francisco)

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