Bach’s 30 variations on an original theme, BWV 988, constitute a challenging monument of the keyboard literature. This work bookended the recording career of Glenn Gould. The eccentric Canadian taped a youthful, dazzling performance in 1955, and a more deeply contemplative one in 1981, just prior to his untimely death. The variety of contemporary styles Bach drew on allows performers differing but equally legitimate approaches. Into this mix, we must add the piano-versus-harpsichord question (personally, I love Bach on the piano). 

This disc by American pianist Nicholas Angelich is a winner. As there is no biography with it, let me fill in the gaps: born in 1970, Angelich studied in Paris with Loriod, Béroff and Ciccolini, and has previously recorded Brahms for this label. He uses every expressive device at his disposal. He decorates the theme heavily, and also the French variations in compound time, yet he varies his touch to make an Italian epidosde like the rapid No 5 less relentless. He is subtle in the canonic variations, allowing the slower ones to sing like Chopin. In this way his performance recalls the wonderful Telarc recording by Simone Dinnerstein. 

Some pianists (like Gould in 1981) play the main theme slower and softer on its return. Maybe that’s because the music was written for the insomniac Count von Keyserlingk, who would hopefully nod off at this point. However, Angelich’s tempo is equally slow for both appearances. He takes most of the repeats, as is usual nowadays. A rich, warm sound strengthens my enthusiastic recommendation.

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