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In 1998 Ishizaka won the Deutscher Musikwettbewerb (German Music Competition), along with her brothers Kiyondo Ishizaka and Danjulo Ishizaka. Ishizaka is part of the Open Goldberg Variations , a Kickstarter -funded, [ 4 ] and Bösendorfer -sponsored [ 5 ] team that recorded Johann Sebastian Bach 's Goldberg Variations and released the score and ...
The Open Goldberg Variations is a non-profit project that created a high ... Pianist Kimiko Douglass-Ishizaka supported the project by ... Ishizaka performing the ...
The story of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel: [1] [For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach.
Douglass-Ishizaka, Kimiko: 2012: Teldex Studio, Berlin: Open Goldberg Variations: piano (Bösendorfer 290 Imperial) [3] Garnati Ensemble 2012 Auditorio del C.C.R. Fray Luis De Leon, Guadarrama (Madrid) Sony Music 88725474372 arranged for string trio by Yuval Gotlibovich Magalhães, Luís and Schumann, Nina 2012
Goldberg Variations BWV 988 28 and 29 Variatio 27 a 2 Clav. Canone alla Nona - Variatio 28 a 2 Clav.flac: ... Kimiko Ishizaka - Bach- Well-Tempered Clavier, Book 1 ...
That studied I linked gives two tempo suggestions for the Goldberg Aria (as part of the study) both of which closely agree with Kirkpatrick (57.6 and 60 bpm). Personally, I like playing the Goldbergs (at least the easier variations!), and tend to play at tempos reflecting my mood—sometimes quite slow, sometimes fast (JackofOz said something ...
It has also been likened to the Open Goldberg Variations, a crowdfunded project by Robert Douglass and pianist Kimiko Douglass-Ishizaka, to create a copyright-free recording of J.S. Bach's complete Goldberg Variations. [17]
As the Director of the Open Goldberg Project (non-profit organization EIN 27-3992022), I can confirm 100% that the recordings used by Kimiko Ishizaka are public domain, and that they were produced in a not-for-profit way (not that such a consideration would matter beyond the licensing).