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From the opening of the Aria it is obvious that this is going to be a special recording

Reviewed by Peter Amsel, May 29, 2012

"One of the wonderful things about the Goldberg Variations is the progression of the work itself, the way in which Bach organized his piece using different compositional techniques from one variation to another, leading invariably to the “canons” that occur every third variation. Bach begins with a canon at the unison, then a canon at the second, and ultimately ends with a canon at the ninth before winding up the piece.

In the case of Bach's Goldberg Variations, it is impossible to avoid the long shadow still cast by Glenn Gould's 1955 debut recording

Review by Michael Christenson, May 29, 2012.

"For me, listening to Variation 23, it seemed, in comparison to Gould, that she was slurring, or possibly misspoke; but on repeated listenings, it became clear to me that I had become so conditioned by Gould's over-articulation that I mistook personality for a character flaw. Gould's performance is a stunning technical feat, but he does come off as somewhat as an android in comparison to Ishizaka's more human interpretation."

Talented and committed people have done their very best to make the best possible recording of a truly great piece of music - and then give it away for free

Review by Catching the Waves on May 28, 2012

"The important people are the potential customers. There are a billion people online who can now hear and own a pristine, high-quality recording of this wonderful work. They won't have to record a low-fi radio broadcast to hear it; they won't have to visit a torrent site and inadvertently spread viruses; they won't carry the psychological stigma of knowing they have stolen something, and they won't have purloined a slice of someone's wages.

A very honest and lucid recording which rather showcases the impressive Bösendorfer Imperial 290 CEUS

Review by Andrew Olsen, May 28, 2012.

"Ishzaka truly brings the Imperial 290 CEUS to life and gives the piano a voice of its own comparable to a symphony orchestra. From whispering soft pianissimos to thundering fortes, the piano responds perfectly to Ishzaka’s trained hands and is a pleasure to listen to, as well. (I listened to the free version via SoundCloud at 

Ishzaka, in my opinion has captured every nuance perfectly – she steers clear of kitsch interpretation and pours her and soul into the music.