For all the progress period instruments have made in cornering the market in modern performances of Bach, the piano keeps a strong presence in the solo keyboard works--particularly the Goldberg Variations. It seems that (arrangements for other instruments aside) the most talked-about performances of the Goldbergs--say, András Schiff, Rosalyn Tureck, Angela Hewitt, and the endlessly debated Glenn Gould--are on piano. Except for this one. Ever since it was first released in 1993, Pierre Hantaïs recording has been repeatedly and extravagantly praised. Whats so special about it? Take, for example, the slow Aria that begins and ends the Goldbergs: It can easily become tedious, even on a piano--and a harpsichord cant even vary dynamics or sustain notes as a piano can. Yet Hantaï makes his harpsichord seem to almost sing the Aria. In his hands, the slow variations seem to speak affably; the fast ones sparkle and dance. Yet theres no sense of excess or abandon: Everything seems considered and elegant. Hantaïs Goldbergs may not be thrilling, exactly, but they provide this listener with more enchantment and delight than any other. --Matthew Westphal