DOCSLIB.ORG

JS BACH Goldberg Variations Jeno˝ Jandó, Piano

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
JS BACH Goldberg Variations Jeno˝ Jandó, Piano 557268bk Bach US 9/11/04 8:53 pm Page 4 Johann Sebastian Bach (1685-1750) Goldberg Variations, BWV 988 J. S. BACH 1 Aria 3:57 & Variation 16 – a 1 ô vero 2 Clav. 2:55 Goldberg Variations 2 Variation 1 – a 1 Clav. 1:39 * Variation 17 – a 2 Clav. 2:07 3 Variation 2 – a 1 Clav. 1:29 ( Variation 18 – a 1 Clav. 1:19 Jeno˝ Jandó, Piano 4 Variation 3 – a 1 Clav. 2:24 Canone alla Sesta Canone all’Unisuono ) Variation 19 – a 1 Clav. 1:27 5 Variation 4 – a 1 Clav. 0:59 ¡ Variation 20 – a 2 Clav. 2:01 6 Variation 5 – a 1 ô vero 2 Clav. 1:23 ™ Variation 21 – a 1 Clav. 2:23 7 Variation 6 – a 1 Clav. 1:21 Canone alla Settima Canone alla Seconda £ Variation 22 – a 1 Clav. 1:39 8 Variation 7 – a 1 ô vero 2 Clav. 1:46 ¢ Variation 23 – a 1 Clav. 2:08 9 Variation 8 – a 2 Clav. 1:44 ∞ Variation 24 – a 1 Clav. 2:31 0 Variation 9 – a 1 Clav. 1:45 Canone all’Ottava Canone alla Terza § Variation 25 – a 1 Clav. 10:00 ! Variation 10 – a 1 Clav. 1:32 Adagio Fugetta ¶ Variation 26 – a 1 Clav. 2:05 @ Variation 11 – a 2 Clav. 1:53 • Variation 27 – a 1 Clav. 1:49 # Variation 12 – a 1 Clav. 1:56 Canone alla Nona Canone alla Quarta ª Variation 28 – a 1 Clav. 2:10 $ Variation 13 – a 2 Clav. 4:05 º Variation 29 – a 1 ô vero 2 Clav. 2:00 % Variation 14 – a 2 Clav. 2:08 ⁄ Variation 30 – a 1 Clav. 1:45 ^ Variation 15 – a 1 Clav. 4:18 Quodlibet Canone alla Quinta ¤ Aria 4:49 8.557268 4 557268bk Bach US 9/11/04 8:53 pm Page 2 Johann Sebastian Bach (1685-1750) a canon at a higher numerical interval, with the final ending with a canon at the sixth. The seventh group ends Goldberg Variations, BWV 988 variation a quodlibet, a hotch-potch seemingly remote with a G minor canon at the seventh, and the eighth with from the original aria, which follows in conclusion. a canon at the octave. This is followed by a ninth group The aria and thirty variations, known as the Goldberg have taken lessons not only from J.S.Bach but also from Since the work was intended for a two-manual opening in G minor and closing with a canon at the Variations, offer remarkable testimony to Johann the latter’s eldest son, Wilhelm Friedemann Bach, who harpsichord, there are occasional but not insuperable ninth. The final group, providing opportunities for Sebastian Bach’s mastery of contrapuntal forms in his was working in Dresden from 1733 until 1746. Goldberg technical problems in performance on a single-manual greater brilliance of performance, ends with a quodlibet, work for the clavier, and his command of over-all may have remained in Dresden after Keyserlingk’s piano. a mixture of popular tunes that include Kraut und Rüben musical structure. The work belongs to the later part of departure to Potsdam in 1745, and in 1751 he entered the The first three variations, ending with a canon at the haben mich vertrieben (Cabbage and turnips have driven Bach’s career. His earlier appointments had been as an service of the First Minister in Dresden, Count Heinrich unison, are for one manual, while the second group me away) and Ich bin so lang nicht bei dir g’west (It is organist, followed by a happy and relatively brief period von Brühl. He died of tuberculosis in 1756 at the age of includes a fifth variation for an optional second manual, so long since I was at your house), set against a variation as Court Kapellmeister to the young Prince Leopold of 29, leaving a reputation rather as a virtuoso performer leading to a canon at the second. The seventh variation ground. Anhalt-Cöthen. In 1723 he had resigned his position at than as a composer. offers the same option for a gigue-like movement, The Goldberg Variations offer a conspectus of Cöthen, after the Prince’s marriage, and moved to There was, of course, a close connection between followed by a two-manual variation and a canon at the Bach’s wit and technical accomplishment, and herald a Leipzig as Cantor at the Choir School of St Thomas, J.S.Bach and Count von Keyserlingk, his patron at the third. The fourth group opens with a fughetta and ends final period in which he would continue to explore the with responsibility for the music of the principal city court of Dresden. It was through Keyserlingk that Bach with a canon at the fourth, and the fifth, designed for two possibilities of canon and the use of a single theme, churches. He remained in Leipzig for the rest of his life. had in 1736 finally secured the title of Court Composer manuals, ends with a single-manual G minor canon at notably in The Musical Offering and The Art of Fugue. The variations were published probably in 1741 as to the King of Saxony, and the ambassador’s only son the fifth. An Ouverture opens the sixth group, marking the fourth and final part of Bach’s Clavier-Übung, a title was a student in Leipzig from 1741, so that both the second half of the work, a solemn introduction in the that he had used for the three preceding collections of Keyserlingk and Goldberg might well have visited Bach. French style, followed by a fugal section, the group Keith Anderson keyboard music and one that had been used by his Wilhelm Friedemann Bach owed his introduction to the predecessor as Thomascantor, Johann Kuhnau. The first court of Dresden to Keyserlingk, whose house was open part had been published in 1731 and included six to other Dresden musicians of distinction. The Aria and Partitas, works that had appeared annually, one by one, Variations, however, have no printed dedication, with since 1726, three years after his arrival in Leipzig. The the title-page announcing the work as for the enjoyment second part, published in 1735, contained the contrasted of amateurs, the work of the Saxon Court Composer and Italian Concerto and Overture in the French Style, and Kapellmeister in charge of choral music in Leipzig. It the third part, issued in 1739, consisted of various organ has been further argued that Goldberg was remarkably compositions and the keyboard Duets. The fourth part young at the time of composition, although the technical Jeno˝ Jandó may be regarded as the culmination of a carefully difficulties of the work should have been within the planned series. competence of the young virtuoso even at the age of The Hungarian pianist Jeno˝ Jandó has won a number of piano Doubt has been cast on the story associated with the fourteen. Forkel concludes his story by adding that Bach competitions in Hungary and abroad, including first prize in the Goldberg Variations, the source of the title by which the was rewarded by Keyserlingk with a gold cup filled with 1973 Hungarian Piano Concours and a first prize in the chamber Aria and Variations are commonly known. Bach’s early a hundred louis d’or. His biography of Bach, published music category at the Sydney International Piano Competition in biographer Forkel alleged that Count Hermann Karl von in 1802, is the only evidence for this. 1977. He has recorded for Naxos all the piano concertos and Keyserlingk, Russian ambassador to the court of Saxony The aria on which the variations are based was sonatas of Mozart. Other recordings for the Naxos label include the in Dresden, had commissioned the work for included in the Clavierbüchlein copied in 1725 by concertos of Grieg and Schumann as well as Rachmaninov’s performance by his protégé, the young harpsichordist Bach’s second wife, Anna Magdalena, an untitled piece, Second Concerto and Paganini Rhapsody and Beethoven’s Johann Gottlieb Goldberg, to amuse him during his its first eight bars based on the chaconne bass familiar complete piano sonatas. hours of sleeplessness. Goldberg himself was born in from French tradition. The variations that follow are 1727 in Danzig (Gdansk), where he came to derived from the harmonic structure and the bass line of Keyserlingk’s attention ten years later. He was said to the aria and are grouped in threes, every third variation 8.557268 2 3 8.557268 557268bk Bach US 9/11/04 8:53 pm Page 2 Johann Sebastian Bach (1685-1750) a canon at a higher numerical interval, with the final ending with a canon at the sixth. The seventh group ends Goldberg Variations, BWV 988 variation a quodlibet, a hotch-potch seemingly remote with a G minor canon at the seventh, and the eighth with from the original aria, which follows in conclusion. a canon at the octave. This is followed by a ninth group The aria and thirty variations, known as the Goldberg have taken lessons not only from J.S.Bach but also from Since the work was intended for a two-manual opening in G minor and closing with a canon at the Variations, offer remarkable testimony to Johann the latter’s eldest son, Wilhelm Friedemann Bach, who harpsichord, there are occasional but not insuperable ninth. The final group, providing opportunities for Sebastian Bach’s mastery of contrapuntal forms in his was working in Dresden from 1733 until 1746. Goldberg technical problems in performance on a single-manual greater brilliance of performance, ends with a quodlibet, work for the clavier, and his command of over-all may have remained in Dresden after Keyserlingk’s piano.
Load more

Recommended publications
  • Johann Sebastian Bach´S “Goldberg Variations“ to Treat Insomnia from Renal Lithiasis Pain
    Historical and Commentary Note Johann Sebastian Bach´s “Goldberg variations“ to treat insomnia from renal lithiasis pain. Sleep research in Nuclear Medicine Andreas Otte MD Division of Biomedical Engineering, Department of Electrical Engineering and Information Technology, Oenburg University, Oenburg, Germany, Badstr. 24, D-77652 Oenburg, Germany, E-mail: [email protected] Hell J Nucl Med 2016; 19(1): 13-14 Published online: 1 April 2016 he organist Johann Nikolaus Forkel (1749-1818) was the rst to describe the Goldberg variations (BWV 988) and their inuence on sleep disorders of Count Hermann Karl von Keyserlingk (1696-1764) in his book from 1802 on Johann TSebastian Bach´s life, art and works [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. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulll this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.
    [Show full text]
  • Goldberg Variations Bach · Busoni
    MENU Bach · Busoni Goldberg Variations & other works Chiyan Wong 1 Credits Tracklist Programme note Biography Bach · Busoni Goldberg Variations & other works Chiyan Wong MENU Recorded in St George’s Bristol 1-21 Post-production Cover Image & Royal Academy of Music, London, UK, Julia Thomas © Jörg Asselborn on 18 April 2019 1-21 & 11 October 2020 Recording Producer & Engineer Design Philip Hobbs stoempstudio.com 3 MENU Bach ∙ Busoni 57:19 Goldberg Variations & other works CHIYAN WONG piano Johann Sebastian Bach (1685–1750) Goldberg Variations (‘Air with Thirty Variations’), BWV 988 edited by Ferruccio Busoni, BV B 35 (1914); with modifications by Chiyan Wong Variations in italics are omitted in this recording. First group 1 — Aria: Largamente e cantato 2:12 2 — Variatio 1: Allegro con freschezza, e deciso 0:59 3 — Variatio 2: Andantino, dolce 0:47 Variatio 3 (Canone all’unisono): Andante con eleganza e con moto 4 — Variatio 4: Lo stesso movimento 0:29 5 — Variatio 5: Allegro, non troppo 0:47 6 — Variatio 6 (Canone alla seconda): Allegretto tranquillo 0:38 7 — Variatio 7: Allegro scherzando 0:59 8 — Variatio 8: Allegro 1:01 Variatio 9 (Canone alla terza): Moderato 9 — Variatio 10 (Fughetta I): Alla breve 0:55 10 — Variatio 11: Lostesso tempo, più vivace 1:04 Variatio 12 (Canone alla quarta e per moto contrario): Moderato 11 — Variatio 13: Andante con grazia [ossia] 2:32 4 MENU Second group 12 — Variatio 14: Allegro ritenuto 1:10 13 — Variatio 15 (Canone alla quinta in moto contrario): Quasi adagio 2:50 Variatio 16 (Ouverture): Grave – Allegro
    [Show full text]
  • Boston Baroque Notes
    Members of Boston Baroque An Afternoon of Chamber Music This afternoon’s program of Baroque chamber music, designed by members of Boston Baroque especially for this Williams College appearance to complement the course “Music in History: Antiquity to 1750,” unfolds a panorama of chamber music-making across Europe during the 17th and early 18th centuries. The newly-born genre of the “sonata”, which first emerged in early 17th-century Italy, forms the backbone of the program. In the Baroque period the term “sonata” (from sonare – “to sound”, as opposed to cantare – “to sing”, from which the term “cantata” derives) generally designated multi-movement works for one or two melody instruments (usually violins, though winds were possible) supported by a continuo group (usually consisting of harpsichord or organ to fill in the harmonies, as well as a low string or wind to reinforce the bass line and occasionally contribute to the counterpoint). The first four pieces on the program trace a century’s worth of attention to this genre through the lens of four national styles – Italian, Austrian, French, and English. After a brief detour into the world of Italian variations based on the repeating harmonic patterns bergamasca and ciacona, the program concludes with two more sonatas, one a solo sonata and the other a trio sonata, representing the heights of the genre in the German-speaking lands at the end of the Baroque era. ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ Dario Castello, a composer and wind player active in Venice in the first half of the 17th-century, contributed substantially to the early formation of the genre with two collections of sonatas, totaling 29 works in all.
    [Show full text]
  • Ignacio Prego Program Notes
    PROGRAM NOTES Sometime during the 1740s, Johann Sebastian Bach at Leipzig performed a church cantata for five voices and instruments for the Feast of St. John the Baptist. There was nothing unusual in this, as Bach had been composing and directing performances of church cantatas there since 1723. But those works normally called for four voices, and this one was not of his own composition. It was instead by Johann Gottlieb Goldberg, born at Danzig in 1727 and apparently a pupil of Bach, or possibly of Bach’s son Wilhelm Friedemann. This same Goldberg was a child prodigy at the keyboard (so was his sister Constantia Renata). In addition to two impressive vocal works, he is known to have composed keyboard music, including a set of twelve variations on a minuet, as well as a trio sonata that is good enough to have been mistakenly attributed to Bach. By the 1740s he was working for Bach’s friend and patron Carl von Keyserlingk, Russian ambassador to Dresden in Saxony. It is this Goldberg for whom Bach is often supposed to have composed the famous set of variations that go by his name. According to Bach’s early biographer Forkel, Goldberg would play Bach’s variations for Keyserlingk during the latter’s sleepless nights. Presumably his doing so was not intended to put the diplomat to sleep, but rather to keep his mind occupied while he remained awake. For no attentive listener could have quickly grown tired of the endless variety and unparalleled inventiveness of Bach’s composition. Goldberg’s name has become inextricably tied to Bach’s set of variations.
    [Show full text]
  • Ulrich Kaiser, Johann Sebastian Bach. Ein Superstar Gestern Und
    Johann Sebastian Bach Ein Superstar gestern & heute von Ulrich Kaiser inkl. der SoftwareAnaVis von Andreas Helmberger und Ulrich Kaiser Unterrichtsheft Als OpenBook bereits erschienen: • Ulrich Kaiser, Sonate und Sinfonie. Ein altes Thema auf neuen Wegen, Materialien für den Unterricht an allgemeinbildenden Schulen (= OpenBook 1), Unterrichtsheft, Kommentarheft, Materialien und Medien (inkl. Software Wavepen von Andreas Helmberger), Karlsfeld 2009. 1. Auflage: Karlsfeld 2011 Autor: Ulrich Kaiser Umschlaggestaltung und Satz: Ulrich Kaiser Dieses Werk (= Unterrichtsheft und Kommentarheft) sowie die Software AnaVis sind urheberrechtlich geschützt. Das Werk und die Software dürfen für den eigenen Gebrauch sowie für den Unterricht beliebig oft kopiert und frei verwendet werden. Eine kommerzielle Nutzung sowie Veränderungen des Werkes sowie der Software sind untersagt. Übersetzungen sind erwünscht, bedürfen jedoch eines schriftlichen Einverständnisses des Autors. Die Bereitstellung der Aufnahmen der in diesem Heft behandelten Werke von Johann Sebastian Bach er- folgt mit freundlicher Genehmigung von Brilliant Classics. Die für das Coverdesign verwendeten Abbildungen (Cembalo und Büste) sowie Bilder auf den Seiten 3, 5 und 12 im Unterrichtsheft entstammen der Sammlung Bachhaus Eisenach/Neue Bachgesellschaft e. V. und wurden mir für dieses Projekt freundlicherweise zur Verfügung gestellt. Die Abbildungen der Seite 32 im Unterrichtsheft wurden Wikipedia-Artikeln entnommen und stehen unter Creativ Commons Lizenz. Autoren sind User Frinck51 (Streichinstrumente und Fagott) und Mezzofortis (Oboe). Die Abbildung des Horns auf dieser Seite erfolgt mir freundlicher Genehmigung von Engelbert Schmid. Alle anderen Abbildungen sowie Noten und Notenbeispiele sind gemeinfrei bzw. wurden von mir neu erstellt. OPENBOOK 2 Musik erleben im Klassenverband Ulrich Kaiser Johann Sebastian Bach Ein Superstar gestern & heute Materialien für den Unterricht an allgemeinbildenden Schulen Unterrichtsheft INHALT Vorbemerkung .
    [Show full text]
  • Anastasia Voltchok
    1. Aria 04:08 2. Variatio 1 (a 1 Clav.) 01:54 3. Variatio 2 (a 1 Clav.) 01:41 4. Variatio 3 Canone all’Unisono (a 1 Clav.) 02:04 5. Variatio 4 (a 1 Clav.) 00:59 6. Variatio 5 (a 1 ovvero 2 Clav.) 00:48 7. Variatio 6 Canone alla Seconda (a 1 Clav.) 01:34 8. Variatio 7 (a 1 ovvero 2 Clav.) 01:39 9. Variatio 8 (a 2 Clav.) 01:47 10. Variatio 9 Canone alla Terza (a 1 Clav.) 01:31 Bach 11. Variatio 10 Fughetta (a 1 Clav.) 01:33 Goldberg 12. Variatio 11 (a 2 Clav.) 01:50 Variations 13. Variatio 12 Canone alla Quarta (a 1 Clav.) 02:53 14. Variatio 13 (a 2 Clav.) 03:36 BWV 988 15. Variatio 14 (a 2 Clav.) 01:13 16. Variatio 15 Canone alla Quinta. Andante (a 1 Clav.) 02:01 Anastasia 17. Variatio 16 Ouverture (a 1 Clav.) 03:09 18. Variatio 17 (a 2 Clav.) 02:28 Voltchok Piano 19. Variatio 18 Canone alla Sesta (a 1 Clav.) 01:32 20. Variatio 19 (a 1 Clav.) 01:10 21. Variatio 20 (a 2 Clav.) 02:16 22. Variatio 21 Canone alla Settima (a 1 Clav.) 03:06 23. Variatio 22 Alla breve (a 1 Clav.) 01:52 24. Variatio 23 (a 2 Clav.) 02:13 25. Variatio 24 Canone all’Ottava (a 1 Clav.) 01:13 26. Variatio 25 (a 2 Clav.) Adagio 07:02 27. Variatio 26 (a 2 Clav.) 01:37 28. Variatio 27 Canone alla Nona (a 2 Clav.) 01:57 29.
    [Show full text]
  • Pamela Frank, Violin; Nobuko Imai, Viola; Clemens Hagen, Cello Tuesday, April 8 – 8:00 PM Perelman Theater, Kimmel Center
    PREVIEW NOTES Pamela Frank, violin; Nobuko Imai, viola; Clemens Hagen, cello Tuesday, April 8 – 8:00 PM Perelman Theater, Kimmel Center Program Goldberg Variations, BWV 988 [Arr. Sitkovetsky] Johann Sebastian Bach Born: March 31, 1685 in Eisenach, Germany Died: July 28, 1750 in Leipzig, Germany Composed: 1741 Last PCMS performance: Mikhail Yanovitsky, 2001 Duration: 57 minutes The "Goldberg Variations” is the last of a series of keyboard music Bach published under the title of Clavierübung and is often regarded as the most serious and ambitious composition ever written for harpsichord. Based on a single ground bass theme, the variations display Bach's exceptional knowledge of musical styles and his virtuosic performing techniques. The work is often considered to sum up the entire history of Baroque variation, much like Beethoven’s Diabelli Variations of the Classical period. However, doomed perhaps by its requirements of virtuoso techniques from a performer, it was not as well known as the Well‐Tempered Clavier, which was not published during the composer's lifetime. Regardless, many have long regarded the work as the most important set of variations composed in the Baroque era. The origin of the variation’s name is still under debate. The popular title of “Goldberg” owes its existence to early Bach historian Johann Nikolaus Forkel. According to Forkel, Hermann Carl von Keyserlingk requested that Bach write a work for his house harpsichordist, Johann Gottlieb Goldberg. Keyselingk, who suffered from insomnia, wished that Bach’s composition would be light and lively in hopes that it would cheer him up during his sleepless nights.
    [Show full text]
  • Bachfest Dresden. 23
    Bachfest Dresden. 23. September bis 3. Oktober 2016 91. Bachfest der Neuen Bachgesellschaft in Zusammenarbeit mit den Frauenkirchen-Bachtagen Schirmherr: Stanislaw Tillich, Ministerpräsident des Freistaates Sachsen 2 | Bachfest Dresden. Herzlich willkommen zum Bachfest Dresden 2016! INHALT UND PROGRAMMÜBERSICHT Veranstaltungsorte Bachfest Dresden 2016 .......................................................................... 9 Grußwort des Oberbürgermeisters Dirk Hilbert ..................................................................10 Grußwort des Schirmherren und Ministerpräsidenten Stanislaw Tillich..................11 Zum Geleit: Christfried Brödel .....................................................................................................12 Zum Geleit: Roderich Kreile ..........................................................................................................13 PROGRAMM SEITE 1. | 22.09. | 20 Uhr | Semperoper .......................................................................................................14 Geburtstagsklänge zum Auftakt – Sonderkonzert am Gründungstag der Sächsischen Staatskapelle Dresden 2. | 23.09. | 19 Uhr | Kirche Loschwitz .............................................................................................15 Familienkonzert – Pfeife, Balg und Manual 3. | 23.09. | 19 Uhr | Dreikönigskirche .............................................................................................15 Lange Eröffnungsnacht Bachfest Dresden 4. | 23.09. | 20 Uhr | Frauenkirche .....................................................................................................17
    [Show full text]
  • Booklet-RIC426.Pdf
    DE MENU FR — TRACKLIST P. 4 ENGLISH P. 6 FRANÇAIS P. 12 DEUTSCH P. 18 MENU EN 2 Recording: Köln, WDR, Klaus-von-Bismarck-Saal, September 2020 Production: Richard Lorber Recording & Editing: Stephan Schmidt & Andreas Gernemann Executive producer (Ricercar): Jérôme Lejeune Cover illustration: Johann Alexander Th iele (1685-1752),View from the Lößnitz heights towards Dresden, Dresden, Gemäldegalerie, Alte Meister, © akg-images Booklet cover: Anonymus: Portrait of Henryk Bruehl (1700-1763), Museum of King Jan III's Palace at Wilanów © Wojciech Holnicki Photo Ludus Instrumentalis (p. 24) © Sasha Laguna Licensed by WDR mediagroup GmbH DE JOHANN GOTTLIEB GOLDBERG FR (1727-1756) COMPLETE TRIO SONATAS — MENU EN LUDUS INSTRUMENTALIS 3 Evgeny Sviridov: violin Anna Dmitrieva: violin Corina Golomoz: viola Davit Melkonyan: cello Liza Solovey: theorbo Stanislav Gres: harpsichord https://www.evgeny-sviridov.com Trio Sonata in C major, DürG 13 (known before as J.S.Bach Trio-Sonata BWV 1037) 1. Adagio 3'23 2. Alla breve 2'52 3. Largo 1'42 4. Gigue Presto 4'36 Trio Sonata in A minor, DürG 11 5. Adagio 2'31 6. Allegro 2'01 7. Alla Siciliana 3'10 8. Allegro assai 6'44 Trio Sonata in G minor, DürG 12 (version for violin and obbligato harpsichord) 9. Adagio 3'11 4 10. Allegro 5'01 11. Tempo di Menuetto 3'41 Trio Sonata in B flat major, DürG 10 12. Adagio 2'33 13. Allegro 2'30 14. Grave 0'43 15. Ciacona 4'32 Prelude and Fugue in G minor (arrangament for 2 violins and cello of Prelude and Fugue in F minor for harpsichord, DürG 5) 16.
    [Show full text]
  • Goldberg Variations
    Pavel Kolesnikov Johann Sebastian Bach GOLDBERG VARIATIONS The title page of the first edition of J S Bach’s Clavierübung IV (Goldberg Variations) Balthasar Schmid, Nuremberg, 1741 2 CONTENTS TRACK LISTING page 4 ENGLISH page 5 FRANÇAIS page 12 DEUTSCH Seite 15 3 JOHANN SEBASTIAN BACH (1685–1750) GOLDBERG VARIATIONS ‘Aria mit verschiedenen Veränderungen’ BWV988 1 Aria . [3'31] 2 Variation 1 a 1 Clav. [1'49] bs Variation 16 Ouverture. a 1 Clav. [3'06] 3 Variation 2 a 1 Clav. [1'41] bt Variation 17 a 2 Clav. [1'51] 4 Variation 3 Canone all’Unisuono. a 1 Clav. [1'50] bu Variation 18 Canone alla Sexta. a 1 Clav. [1'43] 5 Variation 4 a 1 Clav. [1'08] cl Variation 19 a 1 Clav. [1'35] 6 Variation 5 a 1 ô vero 2 Clav. [1'24] cm Variation 20 a 2 Clav. [2'00] 7 Variation 6 Canone alla Secunda. a 1 Clav. [1'23] cn Variation 21 Canone alla Settima. a 1 Clav. [2'55] 8 Variation 7 a 1 ô vero 2 Clav. Al tempo di Giga . [1'51] co Variation 22 a 1 Clav. [1'18] 9 Variation 8 a 2 Clav. [1'59] cp Variation 23 a 1 Clav. [2'08] bl Variation 9 Canone alla Terza. a 1 Clav. [2'38] cq Variation 24 Canone all’Ottava. a 1 Clav. [2'18] bm Variation 10 Fughetta. a 1 Clav. [1'37] cr Variation 25 a 2 Clav. Adagio . [7'47] bn Variation 11 a 2 Clav. [1'30] cs Variation 26 a 2 Clav.
    [Show full text]
  • J.S. Bach Goldberg Variations Bwv 988
    J.S. BACH GOLDBERG VARIATIONS BWV 988 GILE BAE Piano J.S. BACH GOLDBERG VARIATIONS BWV 988 GILE BAE Piano Conceived, recorded and produced by Giulio Cesare Ricci 1. Aria 3’47” 17. Variation 16 ouverture 2’54” Recorded in “Sala dell’Ermellino” Casa della Musica, Milano 2. Variation 1 1’52” 18. Variation 17 2’01” Recording date 4-5 November 2019 3. Variation 2 1’19” 19. Variation 18 canone alla sesta 1’23” Recording assistant: Paola Liberato 4. Variation 3 canone all’unisono 1’37” 20. Variation 19 1’07” Valve microphones: Neumann U47, U48 5. Variation 4 1’09” 21. Variation 20 1’52” Mike pre-amplifiers, cables (line, digital, microphone, supply): Signoricci 6. Variation 5 1’18” 22. Variation 21 canone alla settima Recorded in stereo DSD on the Pyramix Recorder using dCS A/D and D/A converters 7. Variation 6 canone alla seconda 1’00” (G minor) 2’08” Photos by Guido Taroni 8. Variation 7 al tempo di giga 2’08” 23. Variation 22 alla breve 1’26” La masterizzazione per il SuperAudioCD è stata effettuata da Giulio Cesare Ricci utilizzando 9. Variation 8 1’51” 24. Variation 23 2’04” il sistema Signoricci interamente analogico e valvolare. 10. Variation 9 canone alla terza 1’24” 25. Variation 24 canone all’ottava 2’15” 11. Variation 10 fughetta 1’26” 26. Variation 25 adagio (G minor) 9’27” Si ringrazia la Micheli Associati per aver concesso la “Sala dell’Ermellino” 12. Variation 11 1’42” 27. Variation 26 1’57” 13. Variation 12 canone alla quarta 2’03” 28.
    [Show full text]
  • The Twenty Second International Carillon Festival
    welcome to the twenty second international carillon festival Thank you for joining us what is a carillon? in celebrating one of the world’s greatest carillons, A carillon is a musical instrument consisting of at least 23 cast bronze bells that are precisely tuned and the Singing Tower. With arranged in chromatic progression so that music in any performances by world- key can be played. Unlike other types of bells, carillon renowned carillonneurs, bells are fixed in a frame—the bells do not move. Instead, the clappers inside strike the bells to produce a enjoy a renaissance of considerable range of sounds up to five or six octaves. this most unique musical Because of its weight and size, the carillon is the largest instrument through debut of all instruments. A carillon is played from a keyboard on which the keys are depressed by the player’s closed performances of hands and feet. The keys are connected to the clappers new compositions by vertical and horizontal wires. and music performed throughout the 500-year about our carillon history of the carillon. The carillon at Bok Tower Gardens has 60 bells ranging in weight from 16 pounds to nearly 12 tons. Following each The instrument was designed and built in performance, guest 1928 by John Taylor Bellfoundry, Ltd. of carillonneurs will greet visitors near Loughborough, England which still the Information makes bells today. There are three Booth to carillons in Florida, approximately discuss their performance, 200 in North America and 600 answer questions throughout the world. about the carillon and pose for pictures.
    [Show full text]