Bach: The Goldberg Variations (Cambridge Music Handbooks) - download pdf or read online

By Peter Williams

ISBN-10: 0521001935

ISBN-13: 9780521001939

Bach's astounding Goldberg adaptations signify a excessive aspect within the repertory of keyboard song, fairly for the harpsichord. This booklet takes a close examine how those diversifications originated, in particular on the subject of all Bach's ClavierÜbung volumes and past due keyboard works, what their really tricky plan is, what sort of influence they've got had, and the way their mysterious good looks has been created. This advisor to what was once on the time the biggest and so much rigorously conceived unmarried paintings of keyboard song will entice scholars, performers and listeners.

Show description

By Peter Williams

ISBN-10: 0521001935

ISBN-13: 9780521001939

Bach's astounding Goldberg adaptations signify a excessive aspect within the repertory of keyboard song, fairly for the harpsichord. This booklet takes a close examine how those diversifications originated, in particular on the subject of all Bach's ClavierÜbung volumes and past due keyboard works, what their really tricky plan is, what sort of influence they've got had, and the way their mysterious good looks has been created. This advisor to what was once on the time the biggest and so much rigorously conceived unmarried paintings of keyboard song will entice scholars, performers and listeners.

Show description

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Extra info for Bach: The Goldberg Variations (Cambridge Music Handbooks) 2001

Example text

Bach: The Goldberg Variations amongst knowledgeable German musicians, and one finds it too with Handel. The contrast is borne out even at the end of each piece in Clavier¨ubung II, for the first is marked Il fine, the second Fin. This is found in the second edition of 1736 (the first had only the Fin) and suggests that someone had carefully corrected it. Humour, perhaps, or pedantry? Or a merely earnest fidelity to imaginary models? 3 In the event, however, the Italian Concerto, described by one contemporary as a perfect model of the well-designed concerto for single instrument (Dok II, p.

Sarabandes, minuets, polonaises and (had they been wanted) marches were possible, however, as were gavotte-like or gigue-like movements as long as one omitted written anacruses. The arabesques, being lively movements in triple time with only a certain amount of motivic imitation, might in theory resemble perpetuum mobile courantes or correntes such as that of the Partita in G major, but in fact they have few if any obvious antecedents. The overall result of all this is that not only is the Goldberg quite distinct from standard decorative variations of the day, but it makes no attempt to order or shape a sequence of movements so as to resemble 46 Overall shape a suite – surprisingly, perhaps, for after No.

14 out of 29 p. 39 out of 77 p. ) The symmetry is there to be seen on paper and is probably more theoretical than practical: it need not mean that if one timed a performance of all the music, those pieces would hit the halfway point. But note that if this organization around a kind of musical pivot is not accidental – and it is hard to see quite how it could be – several things would follow. First, the composer must have had a reason for it, and one can only assume that he was familiar with the rhetoricians’ notion of the ‘Inner Exordium’: the idea that as one gives an extended speech (sermon, plea, address), it is effective to start again in the middle.

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Bach: The Goldberg Variations (Cambridge Music Handbooks) 2001 by Peter Williams


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