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Bradley Lehman
American Record Guide, July 2019

She [Bucher] plays straightforwardly (steady tempos, few improvised embellishments) and observes all the repeats. Most of her tempos are fast, similar to Glenn Gould’s 1955 recording on piano. Her fluency bogs down slightly in variations 17, 24, and 27…

Bucher is content to give us the big architectural features of the edifice. © 2019 American Record Guide Read complete review on American Record Guide



Jerry Dubins
Fanfare, July 2019

I find myself quite liking Anne-Catherine Bucher’s performance of the Goldbergs. She takes all the repeats, her finger work and velocity in the fast variations are very impressive, and I especially appreciate that she varies the registrations of her instrument on the repeats, thereby avoiding the sense of literalness than can set in.

That aside and notwithstanding, this is a very fine Goldberg Variations, which I quite enjoyed listening to. I can’t say that it crowds out two of my favorite harpsichord versions, those by Richard Egarr and Aapo Häkkinen, but Bucher needn’t take a back seat to either of them. Recommended. © 2019 Fanfare Read complete review



Alex Baran
The WholeNote, May 2019

The Goldberg Variations are, like any piece of music, a window into the soul of the performer. Choice of instrument, tempi, phrasings, etc. all say something about the player sitting at the keyboard. While Bucher’s recording is scholarly and informed, it rises quickly to gratifying levels of inspired creativity that have a lasting emotional impact. It’s a performance of thought and substance. © 2019 The WholeNote Read complete review





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