DOCSLIB.ORG

Goldberg Variations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Goldberg Variations J. S. Bach Goldberg-Variationen BWV 988 1 ARIA mit verschiedenen Veränderungen für Cembalo mit 2 Manualen (Goldberg-Variationen) BWV 988 3 4 43 5 9 13 To our lovely children, from Mom and Dad. Thank you for all of the joy you have brought to our lives. 2 17 20 23 27 30 3 VARIATIO 1 a 1 Clav. 3 4 3 4 4 7 10 13 Für Natalie, Fiona und Isabelle. 'Dem höchsten Gott allein zu Ehren, dem Nächsten, draus sich zu belehren' - 4 Lebensmusik, im Sinne des Meisters nun freigesetzt, für Euch und Eure Welt. 17 20 23 26 29 5 VARIATIO 2 a 1 Clav. 42 42 6 10 15 1. 2. 20 The South Melbourne Symphony Orchestra is one of Melbourne's oldest community orchestras, with a continuous record of performing in the South Melbourne Town Hall since its formation in 1946. Four concerts a year are performed in the Town Hall which - through the generosity of the City of Port Phillip and the Australian National Academy of Music - the orchestra has the use of for both rehearsals and concerts. Built late in the 19th century, this magnificent old building - now fully restored - has acoustic properties as good as can be found anywhere in Australia. The orchestra performs works in a variety of styles, from the pre-baroque works of Gabrieli, through the standard Baroque, Classical and Romantic repertoire into the modern era and frequently engages concerto soloists from the Academy. 6 25 1. 2. 30 VARIATIO 3 a 1 Clav. Canone all' Unisuono 182 12 8 3 5 To our daughter Judith Diana Daphne Mailer, from your Dad and Mum. May this music's counterpoint weave your life's tapestry. 7 7 9 11 13 15 8 VARIATIO 4 a 1 Clav. 3 8 3 7 8 1. 2. 13 18 24 30 1. 2. A mi familia, de Diego. Sois mi mayor apoyo en esta aventura tan maravillosa. Os quiero. 9 VARIATIO 5 a 1 ovvero 2 Clav. 3 4 3 4 4 7 10 13 To the memory of Vivien Diana Laud, music lover, from Richard. "Music is harmony, harmony is perfection, perfection is our dream, and our dream is heaven." 10 17 20 23 25 28 .
Load more

Recommended publications
  • Bach: Goldberg Variations
    The Choir of King’s College, Cambridge Final Logo Brand Extension Logo 06.27.12 BACH GOLDBERG VARIATIONS Parker Ramsay | harp PARKER RAMSAY Parker Ramsay was the first American to hold the post of Organ Scholar at King’s, from 2010–2013, following a long line of prestigious predecessors. Organ Scholars at King’s are undergraduate students at the College with a range of roles and responsibilities, including playing for choral services in the Chapel, assisting in the training of the probationers and Choristers, and conducting the full choir from time to time. The position of Organ Scholar is held for the duration of the student’s degree course. This is Parker’s first solo harp recording, and the second recording by an Organ Scholar on the College’s own label. 2 BACH GOLDBERG VARIATIONS Parker Ramsay harp 3 CD 78:45 1 Aria 3:23 2 Variatio 1 1:57 3 Variatio 2 1:54 4 Variatio 3 Canone all’Unisono 2:38 5 Variatio 4 1:15 6 Variatio 5 1:43 7 Variatio 6 Canone alla Seconda 1:26 8 Variatio 7 al tempo di Giga 2:24 9 Variatio 8 2:01 10 Variatio 9 Canone alla Terza 1:49 11 Variatio 10 Fughetta 1:45 12 Variatio 11 2:22 13 Variatio 12 Canone alla Quarta in moto contrario 3:21 14 Variatio 13 4:36 15 Variatio 14 2:07 16 Variatio 15 Canone alla Quinta. Andante 3:24 17 Variatio 16 Ouverture 3:26 18 Variatio 17 2:23 19 Variatio 18 Canone alla Sesta 1:58 20 Variatio 19 1:45 21 Variatio 20 3:10 22 Variatio 21 Canone alla Settima 2:31 23 Variatio 22 alla breve 1:42 24 Variatio 23 2:33 25 Variatio 24 Canone all’Ottava 2:30 26 Variatio 25 Adagio 4:31 27 Variatio 26 2:07 28 Variatio 27 Canone alla Nona 2:18 29 Variatio 28 2:29 30 Variatio 29 2:04 31 Variatio 30 Quodlibet 2:38 32 Aria da Capo 2:35 4 AN INTRODUCTION analysis than usual.
    [Show full text]
  • Simone Dinnerstein, Piano Sat, Jan 30 Virtual Performance Simone Dinnerstein Piano
    SIMONE DINNERSTEIN, PIANO SAT, JAN 30 VIRTUAL PERFORMANCE SIMONE DINNERSTEIN PIANO SAT, JAN 30 VIRTUAL PERFORMANCE PROGRAM Ich Ruf Zu Dir Frederico Busoni (1866-1924) Johann Sebastian Bach (1685-1750) Three Chorales Johann Sebastian Bach Ich Ruf Zu Dir Richard Danielpour Frederico Busoni (1866-1924) | Johann Sebastian Bach, (1685-1750) (b, 1956) Les Barricades Mysterieuses François Couperin (1688-1733) Arabesque in C major, Op. 18 Robert Schumann (1810-1856) Mad Rush Philip Glass (b. 1937) Tic Toc Choc François Couperin BACH: “ICH RUF’ ZU DIR,” BWV 639 (ARR. BUSONI) Relatively early in his career, Bach worked in Weimar as the court organist. While serving in this capacity, he produced his Orgelbüchlein (little organ book): a collection of 46 chorale preludes. Each piece borrows a Lutheran hymn tune, set in long notes against a freer backdrop. “Ich ruf’ zu dir,” a general prayer for God’s grace, takes a particularly plaintive approach. The melody is presented with light ornamentation in the right hand, a flowing middle voice is carried by the left, and the organ’s pedals offer a steady walking bassline. The work is further colored by Bach’s uncommon choice of key, F Minor, which he tended to reserve for more wrought contrapuntal works. In this context, though, it lends a warmth to the original text’s supplication. In arranging the work for piano, around the year 1900, Busoni’s main challenge was to condense the original three-limbed texture to two. Not only did he manage to do this, while preserving the original pitches almost exactly, he found a way to imitate the organ’s timbral fullness.
    [Show full text]
  • Bach and Money: Sources of Salary and Supplemental Income in Leipzig from 1723 to 1750*
    Understanding Bach, 12, 111–125 © Bach Network UK 2017 Young Scholars’ Forum Bach and Money: Sources of Salary and Supplemental Income in Leipzig * from 1723 to 1750 NOELLE HEBER It was his post as Music Director and Cantor at the Thomasschule that primarily marked Johann Sebastian Bach’s twenty-seven years in Leipzig. The tension around the unstable income of this occupation drove Bach to write his famous letter to Georg Erdmann in 1730, in which he expressed a desire to seek employment elsewhere.1 The difference between his base salary of 100 Thaler and his estimated total income of 700 Thaler was derived from legacies and foundations, funerals, weddings, and instrumental maintenance in the churches, although many payment amounts fluctuated, depending on certain factors such as the number of funerals that occurred each year. Despite his ongoing frustration at this financial instability, it seems that Bach never attempted to leave Leipzig. There are many speculations concerning his motivation to stay, but one could also ask if there was a financial draw to settling in Leipzig, considering his active pursuit of independent work, which included organ inspections, guest performances, private music lessons, publication of his compositions, instrumental rentals and sales, and, from 1729 to 1741, direction of the collegium musicum. This article provides a new and detailed survey of these sources of revenue, beginning with the supplemental income that augmented his salary and continuing with his freelance work. This exploration will further show that Leipzig seems to have been a strategic location for Bach to pursue and expand his independent work.
    [Show full text]
  • Goldberg Variations' in the Neue Bach Ausgabe Erich Schwandt
    Performance Practice Review Volume 3 Article 2 Number 1 Spring Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe Erich Schwandt Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Schwandt, Erich (1990) "Questions concerning the Edition of the 'Goldberg Variations' in the Neue Bach Ausgabe," Performance Practice Review: Vol. 3: No. 1, Article 2. DOI: 10.5642/perfpr.199003.01.2 Available at: http://scholarship.claremont.edu/ppr/vol3/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Editing Problems Questions Concerning the Edition of the 'Goldberg Variations* in the Neue Bach Ausgabe Erich Schwandt The world has been waiting for almost 250 years for a completely authoritative text of the "Goldberg Variations," which were published in Bach's lifetime (in 1741 or 1742) as the fourth part of the Clavierilbung. Balthasar Schmid of Nuremburg engraved them with great care; nonetheless, his elegant engraving contained a few wrong notes, and some slurs, ties, accidentals, and ornament signs were inadvertently omitted. In addition, some of the ornaments are ambiguous, and some blurred. In the absence of Bach's autograph, Schmid's engraving must remain the primary source for the "Goldberg Variations," and Bach's own 'corrected' copy1 takes pride of place over the other extant copies corrected by Bach. When the Bach Gesellschaft (hereafter BGA) published the "Goldberg Variations" in 18532, the editor, C.
    [Show full text]
  • A Study of Musical Rhetoric in JS Bach's Organ Fugues
    A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people.
    [Show full text]
  • Gregory Butler. Bach's Clavier-Ubung III: the Mak­ Ing of a Print
    Gregory Butler. Bach's Clavier-Ubung III: The Mak­ ing of a Print. With a Companion Study of the Canonic Variations on "Vom Himmel Hoch," BWV 769. Durham and London: Duke University Press, 1990. 139 pp. When I read Gregory Butler's Bach's Clavier-Ubung III' The Making of a Print, I could not help but think of a remark made by Arthur Mendel at the first meeting of the American Bach Society some twenty years ago. At the conclusion of a round table on post-World War II developments in Bach research, a long session in which the manuscript studies of Alfred Durr, Georg von Dadelsen, and Robert Marshall were discussed in some detail, Mendel quipped, with a wry smile: "And if the original manuscripts have revealed a lot about Bach's working habits, wait until we take a closer look at the original prints!" The remark drew laughter, as Mendel intend­ ed, and struck one at the time as facetious, for how could the prints of Bach's works ever show as much about chronology and the compositional process as the manuscripts? The surviving manuscript materials, written by Bach and his copyists, display a wealth of information that can be unrav­ eled through source-critical investigation: revisions, corrections, organiza­ tional second thoughts. The prints, by contrast, appear inscrutable. Uni­ form and definitive in appearance, made by engravers rather than Bach or his assistants, they seem to be closed books, telling little-if anything­ about the genesis of the texts they contain. In the earliest volumes of the Neue Bach-Ausgabe (NBA), the original prints were viewed in precisely that way.
    [Show full text]
  • Baroque and Classical Style in Selected Organ Works of The
    BAROQUE AND CLASSICAL STYLE IN SELECTED ORGAN WORKS OF THE BACHSCHULE by DEAN B. McINTYRE, B.A., M.M. A DISSERTATION IN FINE ARTS Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Chairperson of the Committee Accepted Dearri of the Graduate jSchool December, 1998 © Copyright 1998 Dean B. Mclntyre ACKNOWLEDGMENTS I am grateful for the general guidance and specific suggestions offered by members of my dissertation advisory committee: Dr. Paul Cutter and Dr. Thomas Hughes (Music), Dr. John Stinespring (Art), and Dr. Daniel Nathan (Philosophy). Each offered assistance and insight from his own specific area as well as the general field of Fine Arts. I offer special thanks and appreciation to my committee chairperson Dr. Wayne Hobbs (Music), whose oversight and direction were invaluable. I must also acknowledge those individuals and publishers who have granted permission to include copyrighted musical materials in whole or in part: Concordia Publishing House, Lorenz Corporation, C. F. Peters Corporation, Oliver Ditson/Theodore Presser Company, Oxford University Press, Breitkopf & Hartel, and Dr. David Mulbury of the University of Cincinnati. A final offering of thanks goes to my wife, Karen, and our daughter, Noelle. Their unfailing patience and understanding were equalled by their continual spirit of encouragement. 11 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT ix LIST OF TABLES xi LIST OF FIGURES xii LIST OF MUSICAL EXAMPLES xiii LIST OF ABBREVIATIONS xvi CHAPTER I. INTRODUCTION 1 11. BAROQUE STYLE 12 Greneral Style Characteristics of the Late Baroque 13 Melody 15 Harmony 15 Rhythm 16 Form 17 Texture 18 Dynamics 19 J.
    [Show full text]
  • J.S. Bach - Well-Tempered Clavier 1
    J.S. BACH - WELL-TEMPERED CLAVIER 1 For more than two centuries Bach’s Well-Tempered Clavier has had a distinct status in our musical cultural heritage. No other composition has been so prevalent in reaching the performing musician, listener, theoretician and composer, even outranking the Goldberg Variations and the Inventions and Sinfonias. The Well-Tempered Clavier has virtually never been absent from the podium or the music room. Mozart, Beethoven, Chopin, Mendelssohn, Liszt, Bruckner and Brahms were all intimately familiar with this music! Not only the repeated set combination of a prelude and fugue, but also the added fact that Bach moves step by step through all the twelve major and minor keys, and does not for one moment give the impression, that it is an ingenious study piece of the composer or for the performing musician: the Well-Tempered Clavier has provided a function as an outstanding example. “Das Wohltemperirte Clavier. oder Praeludia, und Fugen durch alle Tone und Semitonia, So wohl tertiam majoram oder Ut Re Mi anlan- gend, als auch tertiam minorem oder Re Mi Fa betreffend. Zum Nutzen und Gebrauch der Lehr-begierigen Musicalischen Jugend, als auch dere in diesem stu- dio schon habil seyenden besonderem ZeitVertreib auffgesetzet und verfertigt von Johann Sebastian Bach. p.t.: HochFürstlich Anhalt- Cöthenschen Capel- Meistern und Di- rectore derer Cammer Mu- siquen. Anno 1722" Although the title page of the first book of the Well-Tempered Clavier – a similar second book would appear later – indicates the year 1722, after Bach’s death a story did the rounds for a long time that he had written the whole volume out of sheer boredom because of the lack of a clavier (in Weimar or Carlsbad).
    [Show full text]
  • CMOS for Musicians
    CMOS for Musicians As a music student, you have most likely used the Chicago Manual of Style (CMOS) or its student version, called Turabian, to format your class papers. CMOS not only has rules for footnotes and bibliographies, it also governs style. Among other things, style determines which words you capitalize and italicize, when you spell out a concept, and when you use symbols. These stylistic details not only provide a uniform way of representing information, but they actually convey meaning. Formatting the titles of musical works or knowing music-specific vocabulary is not intuitive. Western art music developed out of several different cultural and linguistic contexts over an extended period of time. For this reason, how we format the titles of musical works and use music-specific vocabulary often depends on linguistic and historical conventions as well as style conventions—in the case here, CMOS. CMOS is the go-to style guide for music, but it does not cover everything. CMOS recommends D. GKern Holoman’s book, Writing about Music: A Style Sheet, as a supplemental guide for finer details concerning style when writing about music. Capitalization Schemes Sentence Case In sentence case—also called sentence style—only the first word is capitalized and all proper nouns are capitalized. In other words, we capitalize the title like we would capitalize a sentence. CMOS uses both schemes to capitalize the titles of works. For more on sentence style, see CMOS 8.158. Title Case In title case—also called headline style or headline case—the first and last words, and all major words, are capitalized.
    [Show full text]
  • JS Bach Classical Music: Be an Instant Expert
    CLASSICAL MUSIC: BE AN J.S. BACH INSTANT EXPERT About the Instant Expert Series Many people think that learning about classical music and the people that create it would require so much time and energy that the prospect of diving in overwhelms them. Naxos, the world’s leading classical label, has mined its vast catalog of recordings (and the brains of its global staff of classical music connoisseurs) to design a new series called “Instant Expert” which is available by J.S. Bach download only. Each “Instant Expert” volume focuses on the music of one composer, featuring a Classical Music: Be An curated collection of that composer’s greatest hits as well as some unique or historically significant Instant Expert compositions. In addition, each download is accompanied by a podcast hosted by Raymond Bisha, Naxos of America Director of Media Relations, and a booklet containing track information and an abridged biography of the composer. – Kelly M. Rach, National Publicist, Naxos of America –2– Johann Sebastian Bach (3/21/1685-7/28/1750) Johann Sebastian Bach belonged to a dynasty of musicians. Inevitably following family J.S. Bach tradition, he excelled his forebears as well as his contemporaries, although he did not always Classical Music: Be An receive in his own lifetime the respect he Instant Expert deserved. He spent his earlier career principally as an organist, latterly at the court of one of the two ruling Grand Dukes of Weimar. In 1717 he moved to Cöthen as Court Kapellmeister to the young Prince Leopold and in 1723 made his final move to Leipzig, where he was employed as Cantor at the Choir School of St Thomas, responsible for the music in the five principal city churches.
    [Show full text]
  • Presenting a Comprehensive Picture of Bach's Creative Genius Is One Of
    Presenting a comprehensive picture of Bach’s creative genius is one of the chief objectives of the Baldwin Wallace Bach Festival. The list that follows records works performed on Festival programs since its inception in 1933. VOCAL WORKS LARGE CHORAL WORKS BWV 232, Messe in h-moll. 1935, 1936, 1940, 1946, 1947, 1951,1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011, 2015, 2019. BWV 245, Johannespassion. 1937, 1941, 1948, 1952, 1956, 1960, 1964, 1968, 1972, 1976, 1980, 1984, 1990, 1994, 1998, 2002, 2006, 2010, 2014, 2018. BWV 248, Weihnachts-Oratorium. 1938, 1942, 1949, 1953, 1957, 1961, 1965, 1969, 1973, 1977, 1981, 1986, 1991, 1995, 1999, 2003, 2009, 2013. BWV 244, Matthäuspassion. 1939, 1950, 1954, 1958, 1962, 1966, 1970, 1974, 1978, 1982, 1987, 1992, 1996, 2000, 2004, 2008, 2012. BWV 243, Magnificat in D-Dur. 1933, 1934, 1937, 1939, 1943, 1945, 1946, 1950, 1957, 1962, 1968, 1976, 1984,1996, 2006, 2014. BWV 249, Oster-Oratorium. 1962, 1990. MOTETS BWV 225, Singet dem Herrn ein neues Lied. 1940, 1950, 1957, 1963, 1971, 1976, 1982, 1991, 1996, 1999, 2006, 2017, 2019. BWV 226, Der Geist hilft unsrer Schwachheit auf. 1937, 1949, 1956, 1962, 1968, 1977, 1985, 1992, 1997, 2003, 2007, 2019. BWV 227, Jesu, meine Freude. 1934, 1939, 1943, 1951, 1955, 1960, 1966, 1969, 1975, 1981, 1988, 1995, 2001, 2005, 2019. BWV 228, Fürchte dich nicht, ich bin bei dir. 1936, 1947, 1952, 1958, 1964, 1972, 1979, 1995, 2002, 2016, 2019. BWV 229, Komm, Jesu, komm. 1941, 1949, 1954, 1961, 1967, 1973, 1992, 1993, 1999, 2004, 2010, 2019.
    [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]