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Let’s dot the i’s as only a capish can (and must) do. Regarding the interpretations of the Goldberg Variations (Bach-Werke-Verzeichnis 988), I would dare to say that, as beautiful and personal as Glenn Gould’s version is (doubly beautiful, both in his impetuously youthful 1955 recording and his mature 1981 one; quite different from each other, as is obvious), the principal instrument on which this paradigm of “variations on a theme” best reveals its essence is the harpsichord. Both in the ancient (1933/'34) and magical recording (which practically coincides with the rediscovery of the instrument itself) by Wanda Landowska, and in Keith Jarrett's inspired rendition (1989). Although it is textually precise, the famous recording by Gustav Leonhardt (1978) feels a bit cold and mannered, while I prefer to refrain from commenting on others (there are options for all tastes). Unique, however, is the performance for string trio published in 2007 by Deutsche Grammophon, featuring Mischa Maisky on cello. For more on Maisky and the soaring suites for solo cello, refer to @[odradek]'s extensive page: Suites Per Violoncello 1-6 - Johann Sebastian Bach - Mischa Maisky - recensione
Therefore, if you really like baroque music played on the piano (a notion that’s hard to understand, except for the exception of G. Gould, which proves the rule), stick to Gould, because the others (I might be mistaken, but this is an opinion carefully formed after mooooooltiple listens) completely betray the spirit of the composition. And if you have to choose between the two Goulds, the mature one (in my taste) is the best. If you truly love Bach, first listen to W. Landowska's version (obtain it digitally or, even better, in analog; the one on yutub is quite poor). You will likely not be disappointed.