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Aria with Thirty Changes BWV 988 (Klavierubung part IV) Goldberg Variations
On 19 November 1736 the longed—for title Königlich Pohinischet und Chur Saechssischer Hoff-Compositeur” (Royal Polish and Scxon Court Composer) was finally bestowed upon Johann Sebastian Bach. The success of efforts which had taken a good three years was perhaps especially thanks to the referential treatment of the Russian envoy at the Dresden Court, Count of Keyserlingk. He was a passionate music lover and enthusiastic admirer of the "Thomaskantor" (choirmaster at the Thomas Church in Leipzig).
The Count was said to have commissioned a work from Bach to help him to calm his nerves, and to serve as a distraction during the harrowing, sleepless nights. Today, this musical piece is known as the Goldberg Variations. It was named after the man, according to historical records, who performed it for the first time. Johann Theophilus Goldberg—born in 1727—-was Bach's student. As a young boy (the Motions were composed circa 1742) he entered into Count of Keyserlingk's service. His virtuoso and splendid performances were talked about as a miracle. According to the reports of Bach's first biographer, Johann Nikolaus Forkel, the Count—when expecting a sleepless night—always requested: "Dear Goldberg, please play one of my mo¬tions forme". As stated by Forkel the Count had given the composer a beaker filled with one hundred Louisdor for his work.
Forkel's biography was published in 1802. Since then, the term Goldberg Variations has been customarily used. The work was first issued in Nuremberg (1742) under the titel: Piano Practice, consisting of one Aria with different Variations for Harpsicki with two Manuals. Although most of Bach's piano works were created in Weimar and Köthen, he published only those of the Leipzig period. In 1739 the third part of the Klavierübung was issued, containing 4 duets and preludes about "catechism songs". Bath didn't continue the numbering on the title page of the "Variations". In spite of this it has become accepted to consider the Goldberg Variations as the fourth part of the Klavierübung.
As theme, Bach chose an aria from the Piano Booklet, he had compiled for his wife Anna Magdalena in 1725. The structure of the sequence of variations is very interesting: every third variation (numbers 3,6, 9 12 etc) is a canon, the distance growing from a first [Variation 3) to a ninth (Variation 27). The two highest voices take part in the canon, the bass having the function of accompaniment. Only in the last canon is the bass missing. Variation 30 isn't a canon anymore but a different polyphonic form which had gained popularity in Germany two centuries prior to Bach: the "quodlibet".
The quodlibet is a form of musical joke (from Latin: quod/quot = what / how much; libet = as you like it). It could be a pet pourri of some popular, sometimes even contrasting, folksongs. A quodlibet could also perhaps consist of some different song melodies sung at the same time. Bach chose the latter, which allowes for a multitude of contrapuntal possibilities. The quodlibet in the Goldberg Variations is made up of two folksongs: Ich bin so long nicht bei dir gewest and Kraut und Ruben. The first song had still been extremely popular on the streets of Leipzig only half a century before Bach. He also used it in another work, name ly in an interlude to the recitative of the Bauern-Kantote (Peasant Cantata) Mer hahn en neue Oberkeet BWV 212.
In addition, Variation 16 is distinguished by its structure. It is the only one which consists of two differing parts. It has the form of a French overture with a fugato in the second part. The French overture is at the centre of the Goldberg Variations and clearly divides the whole piece into two main sections.
In the cycle there are 3 variations in a minor key, they are in G minor (the overall tonality beeing G major). They are Variations numbers 15, 21 and 25. Among them, number 25 is especially remarkable. As the great Polish harpsichord player Wanda Landowska says it is "the most precious stone of a necklace—the black stone". Following a kaleidoscope of 24 mooJs (beginning with the cheerful feast of Variation 1 up to the despair of Variation 15), characters, genres (one can find dances, a march, an arioso) and contrapuntal methods, ihere now develops a moving cantilena almosl like a melody by Chopin, a|most like a harmony by Wagner. The end of the Variations is deeply symbolic: the descending melody covers a huge range: almost four octaves from top d to small g (g below middle c), as if it plunged into the depths of hell.
After Variation 25 a psychological turning point is reached. The development accelerates and the last 5 variations rush by impe¬tuously. It's them which play the final part. The very last variation is the Quodlibet— and suddenly, after this apotheosis of splen¬dour and thoughtlessness the aria from the beginning emerges again. It seems that the exact repetition of the theme gives a reason to start all over again, the cause becomes the objective. The appearance of the theme compels us to look back upon the entire experience. A feeling emerges of the theme blessing everything that has happened up to this point, but which at the same lime thwarts any attempt at concluding the cycle with a definite solution—everything is moving in an endless cycle. |
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