Utwory na płycie:

• Aria
• Variatio 1 [a 1 Clav]
• Variatio 2 [a 1 Clav]
• Variatio 3 [a 1 Clav] Canone all’Unisono
• Variatio 4 [a 1 Clav]
• Variatio 5 [a 1 ovvero 2 Clav]
• Variatio 6 [a 1 Clav] Canone alla Seconda
• Variatio 7 [a 1 ovvero 2 Clav] Al tempo di Giga
• Variatio 8 [a 2 Clav]
• Variatio 9 [a 1 Clav] Canone alla Terza
• Variatio 10 [a 1 Clav] Fughetta
• Variatio 11 [a 2 Clav]
• Variatio 12 [a 1 Clav] Canone alla Quarta
• Variatio 13 [a 2 Clav]
• Variatio 14 [a 2 Clav]
• Variatio 15 [a 1 Clav] Canone alla Quinta Andante
• Variatio 16 [a 1 Clav] Ouverture
• Variatio 17 [a 2 Clav]
• Variatio 18 [a 1 Clav] Canone alla Sesta
• Variatio 19 [a 1 Clav]
• Variatio 20 [a 2 Clav]
• Variatio 21 [a 1 Clav] Canone alla Settima
• Variatio 22 [a 1 Clav] Alla breve
• Variatio 23 [a 2 Clav]
• Variatio 24 [a 1 Clav] Canone all’Ottava
• Variatio 25 [a 2 Clav] Adagio
• Variatio 26 [a 2 Clav]
• Variatio 27 [a 2 Clav] Canone alla Nona
• Variatio 28 [a 2 Clav]
• Variatio 29 [a 1 ovvero 2 Clav]
• Variatio 30 [a 1 Clav] Quodlibet
• Aria da capo

CD 1:
1. Aria - 16. Variatio 15 [a 1 Clav.]

CD 2:
1. Variatio 16 [a 1 Clav.] - 16. Aria da capo

‘This recording’, says accordionist Samuele Telari, ‘is one that I felt compelled to make. Every time I play Bach’s Goldberg Variations I realise that something changes inside me, and as a consequence in my interpretation as well. The piece is a kind of mirror into which I can look and see what is inside me. Finally, after performing it many times in concert over several years, I felt ready to x a version in a recording.’

Telari’s instrument is essential to his conception of this eternally fresh, kaleidoscopic work. The accordion’s bellows bring out and intensify dynamic contrasts in the slower variations, while the sparkling, faster ones are powered by a pure virtuosity that ows along the two manuals, imitating or chasing one another in resonant stereophony.

Bach’s immortal masterpiece shines with new light here, keyboard dexterity meeting a string-like expressivity, both heightened by Telari’s interpretative subtlety and impeccable control.

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Recorded on 25-27 August 2020 in The Queen’s Hall, Edinburgh.