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GOLDBERG
VARIATIONS :
FROM THE KEYBOARD TO THE TWO GUITARS
There have always been conflicting
or even contrasted opinions on the trancsription of the music of
Bach.For years when compared , one encounters the different theses
of the " purists" , the " philologists " the " universalists ", each
deducing with reference to different elements, historical reasons,
musical language and form.In reality, these different opinions on
the transcriptions are influenced by tradition to the positions of
the absolutists.This fusion of different theories originated from a
state of fact which all almost recognize as legitimate . for
instance they would almost all agree today for it to be " bad taste
" to perform some of the transcritptions of solo violin or organ
works , with orchestra (this was frequently done in the 30's and
50's ) ,while almost all consider it legitimate to perform the
repertoire of the clavicembalistica bachiana on piano, or that for
lute,violin or 'cello on the guitar.In reality these traditions have
legitimized the execution of certain repertoires of the orchestrate
" similar" for executive technique and instrumental possibility.
There are many who think on the different transcriptions that have
been made of the Art of Fugue. In this case the elements that have "
justified" a transcription, are of the vague indications of Bach
speaking of the execution of the work. They can be found in the
contrapuntal nature of the language connected with a general vision
to speculate on some formal organization of the whole work even if ,
unfortunately, they are incomplete.
According to this last conception, the transcription of the Goldberg
Variations can be considered for two guitars.This monumental work is
often tied up to a virtuosic instrumental consideration for keyboard
(harpsichord or piano).In reality , it is the virtuosic and
intellectual nature of the work that originated in me the desire to
transcribe the Variations for two guitars, together with the
absolute contrapuntal aspect of the language that Bach has
marvelously fused to the technical possibilities of the keyboard ;
but they are excellently portrayed thanks to the polyphonic
possibilities of the guitars , and thus none of the polyphonic
architecture Bachiana are sacrificed .Timbrewise, both instruments
being pinched strings, the sound of the guitar is to be considered
to be very similar to that of the harpsichord, certainly in
comparison to the piano.The lightness and sweetness of the guitar
gives a dose of expressiveness to the sound that the harpsichord
misses at times , and that constitutes a further interpretative
meaning in comparison to the diverse nature of every variation.
I hope that the sonorous enjoyment incurred by the listening will
legitimate still further my work, giving to all the same feeling of
fulfilment and peace, and also of the absolute amazement that I had
on my first hearing, and the second and the third....Thank you.
Benedetto Montebello
The Goldberg Variations, BWV988, composed by JS Bach
between 1741 and 1745 and published to Norimberga from the publisher
Balthasar Schmid were specifically composed for Johann Gottlieb
Goldberg in service at that time as teacher in the chapel of the
Count von Brühl in Dresden.Comprised of an Aria , 30 variations and
a reprise, the Aria afresh was originally composed for the
harpsichord. The Goldberg Variations represent a very complex work
with the presence of a continuos lower part, a real canon, but also
a variety of tonal jumps, rhythmic situations and technical
virtuosities. The Goldberg Variations were for many years considered
a rather boring technical exercise, today the emotional content and
the whole composition has been broadly valorized, and critical
analysis graces the wide technique.The available insertions and
studies from all over the world have contributed to making it one of
the most popular pieces of the repertoire with many impassioned
classical music buffs. This opera, together with the Art of Fugue
can be considered to be the vortex of the experimentations of Bach,
with regards to the creation of music for keyboard, both from a
technical point of view, and for the style that combines together
high-level searches in terms of counterpoint and canon.
Brief Analysis of the work.
The motivation.
The first biographer of Bach, Johann Nikolaus Forkel, tells of the
circumstances in which Bach composed the aria with variations for
double-manualed harpsichord.
"In bad health the count often suffered from insomnia, and Goldberg,
who lived in his house, had to distract him , on similar occasions,
during the nightime hours,playing for him in an adjoining room to
his.Once the Count told Bach, that he would very much like to have
from him some delicate and witty pieces that Goldberg might play for
him in order to distract his sleepless nights.Bach concluded that
the best way to satisfy this desire was to compose some variations ,
a form that until then had not been considered with much esteem
because of the ever repetitive harmonic base.Under his hands these
variations became absolute models of this art form . The count
called them " his " variations. He never tired of listening to them
and for many years whenever he had a sleepless night he called '
dear Goldberg , play me some of my variations'. Bach had never been
paid so much for a composition: as a gift, the Count gave him a wine
glass full of 100 gold Luigis.
The Variations
Following the list of the variations with a summary description and
some comments on musical criticism and execution.It is important to
remember that the work has been performed in a variety of ways and
that surely, further points of view exist, not all represented in
the brief annotations that follow.
Aria
The air ( sarabande)has the function of
introducing the thematical material used for the variations.Unlike
the "conventional" variations, the subject of these themselves is
not the melody but the lower part that is used.Peter William,
writing a book on Bach said :"The GV ( you see in the final part of
the article)observes that this is not all the theme, in reality it
would already represent a real first variation; emphasizing the idea
of a work on the kind of the ciaccona rather than in the form of a
variation.
Variation 1
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Animate and bright variation, that opposes in a
marked way with the contmplative ambiance of the theme. Williams
sees a sort of polonaise.The characteristic rhythm in the left is
also visible in Game in Me Greaterfor solo violin and also in the
Aflat prelude from the 48 preludes and fugues for well tempered
klavier.
Variation 2 - Practically a pure
canon.
Variation 3 - The first of the real canons. This variation
is in unison ( that is the second voice begins on the same note as
the first voice)This variation with a series of triplets, offers a
feeling of speed and speditezza.
Variation 4 - Dance ( passepied) with the same scheme
almost in every bar ( at times inverted)
Variation 5 - A line of song accompanies another line: very
rapid tempi and jumps of remarkable width
Variation 6 - Canon to the second ( that is the second
voice is found more aloft to a greater second in comparision to the
first voice) . The harpsichordist Ralph Kirkpatrick describes it as
a variation that is almost " a nostalgic tenderness" - probably due
to the separation of a second between subject and countersubject
Variatio 7 - Ring came to often the Sicilian ( a slow and
solemn dance) but when an original Bach copy of the GV was found
again, the writing was in the time of a gigue ( a more animated
dance) one sees that in effect the rhythmic scheme, made of episodes
of this variation is very similar to that of the gigue of the second
French Suite .
Variation 8 - Another variation to two bawls ... Williams
has compared it to fireworks.
Variation 9 - Canon to the third one.
Variation 10 - Fughettas Variation to four bawls.
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Variation 11 - Variation to two bawls, to a large extent
consisting of scales and arpeggios. It is usually performed very
fast.
Variation 12 - Canon to the fourth grade. The answer is in
inversion.
Variation 13 -A very sought after sarabande ( slow dance in
3/4 )
Variation 14 - A 'jeweled' variation with many trills and
other expressive ornaments, whose execution demands virtuosity.
Variation 15 - Ordinary . Canon to the scene. In contrary
sense, with an inverted answer in response. This is the first variation in
a minor tonality ;
Variation 16 - Overtures. As the title suggests, this
variation is an overture; more specifically a French overture, with
a rather slow prelude and rhythm followed by successive
counterpoint. The division between the prelude and the overture is
found around the variation to halves, after the sixteenth bar. This
variation represents the central point of the whole work, and comes marked
with a particular emphasis on the beginning and the end, through use
of full chords.
Variation 17 - Williams sees in this variation echos of A
Vivaldi and D Scarlatti.
Variation 18 - Canon to the sixth one.
Variation 19 -The first seven bars of this variation has a
particulary clear low theme, on which is founded the whole of some
variations ( ?). The melodic line, disconnected from the
accompaniment is very delicate and gives a very intense feeling of
politeness and sweetness to the whole variation.
Variation 20 -Another variation full of virtuosities with
many crossed hand positions.
Variation 21 -Canon to the seventh. It has a background that
resembles chorale form, and deals with the second variation in a
minor tonality
Variation 22 -A The brief one.As variation two, this also
formally follows a canon.
Variation 23 - Another energetic variation flodded with
virtuosity. Williams marvelled by the emotional strength that
springs from it asks : "Indeed can this be a variation of the I
abandon some Variation 25 ? "
Variation 24 - Canon to the octave . The canon is followed
by answers both an eighth lower and an octave above.
Variation 25 -Marked ' slowly' on Bach's copy. Expressing a
largely shared opinion, Williams wrote that " the beauty and the
dark passion of this variation make it without doubt one of the more
trascinantis and high-level parts of the whole work ". This is the
last of the three variations( the others being 15 and 21 ) that are
written in a minor tonality. The harpsichordist Wanda Landowska
called this variation " the black pearl" .
Variation 26 -Under the fast arabesques, this variation is
in reality a sarabande. Again there is a notable contrast with the
expressive , introspective and impassioned nature of the preceding
one and this cheerful recorded explosion is noted as quicksilver.
Variation 27
- Canon to the ninth. The only canon whose
execution is suitable for a double-manualled harpsichord. It also
has the particularity of being a pure canon without a low line.
Variation 28 - Variation marked by vivacious trills,
alternated from right to left and compared by Williams to the 8th
variation fireworks.
Variation 29 - Variation from the grandiose and important
tone, with alternate heavy chords and fast passages and scales. It
gives an air of resolution after the elevated hulling of the
preceding one.
Variation 30 - Quodlibets. An ontersection between a choral
and a fusion of the popular melodies ' Ich bin lange nicht dir
g'west, ruck her and Kraut und Rüben haben mich vertrieben '( I know
bueatiful that I have been away from you to often and cabbages and
red turnips have diverted me from you ).
Forkel, the biographer of Bach, explains the
Quodlibet, evoking a custom with the Bach family in their/his
reunions ( the relatives of Bach were all musicians) : " No sooner
were they gathered than they first performed a chorale. After such a
devoted beginning they continued with some jokes, often in strong
contrast.In practice they sang partly popular songs and comic ones ,
with partly contained decency, according to the moment....This type
of impromptu harmonisation was called " Quodlibet "; such was the
amusement that they succeeded not only in laughing at themselves,
but were also able to provoke a cordial and irresistible laughter
from all those who listened to them."
The anecdote of Forkel (probably corresponding
to reality, seeing as he had the possibility of getting direct
information from the children of JS Bach) , it makes one think of
the rather evident way that Bach almost intended the Quodlibet as a
joke , and how much less a moment of character music, less busy and
really recreative. Many listeners still agree today on succeeding in
producing the playful aspect in Bach's music.
Some believe that the name of the melodies used
in this last variation is not quite casual, that the key of the joke
is the same variations ; almost , that you finish and that " from
you" is a reference to a theme, an aria and that the quodlibet is
the anticipation of the return of the aria.
Aria afresh. Writing as a repetition of the aria
note for note; it is nevertheless usually performed in a different
enough way, often more absorbed. Williams writes that : " the
elusive and fleeting beauty of the Goldberg Variations....one is
strengthened by this return to the aria....a return such as this
cannot but provoke an Affekt, an emotion. This melody is
thoughtfully jumping back on what has been heard during the last
five variations. It is probable that it combines nostalgic ,
held-back, resigned or sad feelings in its repetitions, as anything
that is reaching an end; with the same notes but now definately
concluding."
The return to the aria adds symetry to the work,
probably even suggesting a cyclical nature to the whole composition
- a round trip of going and coming back .
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