Genre: Solo
Composer: Bach
Title: Goldberg Variations BWV 988
The Goldberg Variations is one of Bach's most compelling works. It is often the case that Bach has a preconceived notion that it is hard, difficult, and somewhat musical. However, once you taste the beauty of the Goldberg Variations, especially the infinite beauty hidden in the simple and meditative melodies of the theme song Aria, this prejudice disappears in a flash. Could this great work come out again in a variation made by humans? The answer to this is very skeptical. No one will be able to produce such diverse, vibrant, and varied works based on a simple aria. His name will still be immortalized in music history, even if all of Bach's other songs are removed and only one is left. How many people were attracted to the beauty of this song and admired the harmony of its various changes.
Musicologist K. Geiringer pointed out that Bach attempted to finalize various aspects of Clavic music in this variation, saying: "This enormous work is the result of the composer's endless imagination and the best technical skill As a piece of work, none of the 18th-century Clavier variations are comparable. "
history
This song became more famous for the episode, which was called 'Goldberg Variations'. In 1802, a piece of Bach's work published by Porkel tells the story of the composition of this work:
"Count Bach's Russian ambassador to Dresden, Kaiser, was suffering from insomnia, so he hired Goldberg, a harpsichordist, to play harpsichord in the next room until he fell asleep, but his insomnia grew more and more The Count, who has become so hard and unbearable, asked Bach, who he usually knew well, to compose music at night, and this variation was composed upon request. When I was not sleeping, I would call Goldberg and play my "Variations." The Count was an example of this song, and I filled it with a bunch of gold coins and a Bach's one-year salary. Bach was the greatest of all the charges he had received for his entire life, Fort Calgary is saying that concludes this episode. This song has been widely known for its slightly romantic episodes, but there are many questions about its authenticity. This variation was published around 1742, and the composition is estimated to be around 1740. At this time, Goldberg was only a 13-year-old boy, and the question remains whether Bach had composed such a complex piece for a 13-year-old boy. In addition, since there is no reference to a link to the book of Kaijes, which claims to have paid a large sum of money for the publication of 1742, the question of whether the existing episode is true is deepening.
Kaijer Link was a person who had always been acquainted with Bach and was a person who helped Bach to become a court composer. Bach was at the age of 38 when he was appointed Cantor of the St. Thomas Church (chorus) until he died at the age of 65. This place was a place of conflict with the church authorities in various ways, and Bach, who had no immediate surroundings, had frequent clashes with city councilors and ministers. In this context, he was awarded the title of "Court composer after the election of the King of Poland and Saxon" in November 1736 after the election of Saxon, the ruler of Leipzig, and he became a very favorable position in contact with high-ranking members of the city. He was the one who helped me in both ways. Bach is known to have been familiar with him, and once he was testing the performance of the newly produced harpsichord, Bach played the entire song of his variation, and Kaiser and Link Counts praised the song very much. Bach said that he would send a copy when it was published. It is a recent theory, perhaps, that the episode described above has been adapted on the basis of this anecdote and the usual two friendships.
Composition Year: 1741 or 1742
Place of composition: Leipzig
Published in 1742, the fourth volume of the [Clavier Orthodox House], titled Aria for the harpsichord with two-handed keys and several variations.
Dedication, instrument: the name of the song is derived from the composition of a clay player Johann Gottlieb Theophilus Goldberg.
Year of release: unknown
Place of premiere: unknown
Starring: Unknown
instrument
Solo keyboard instrument
Harpsichord (harpsichord), organ, clavic code, forte piano, and piano.
Commentary
This variation is composed of a beautiful and meditative Sarabande style G major theme, followed by 30 variations. The theme song for the fourth quarter of the G major, named 'Aria', was taken from 'Sarabande', which was published in 1725 in the 'Anna Magdalena Bach's Clavier's Songbook'. (This suite includes the famous Minuet, which is quoted in the movie 'Connection'.) Of the 30 variations that follow, the three songs are in G minor and all others are G major. Each of the variations has a characteristic that the melody line can be freely freely compared with the bass part by introducing a variety of variations in the form of the bass part, which shares the 32 bass parts. In other words, by taking the material of variation from the baseline rather than from the melody of the aria, the melody and form of each variation can be used in various forms. In fact, Bach freely arranges various forms of songs such as Sarabande, Fugue, Tokata, Trio Sonata, Coral, and Aria.
Interestingly, these songs are not randomly arranged, but are grouped into three songs, and the first song of each bundle is always in the form of a canon, each of which is arranged in a rule of increasing pitch. (3 variations: 1 degree canon, 6 variation: 2 degree canon, 9 variation: 3 degree canon, ..., 27 variation: 9 degree canon). And, in the last 30th variation, the melody of the folk song that was popular at that time is quoted, and the lyrics of this song are 'I have been away from you for a long time. Come back, come back to me. " At the end of this last variation, the same aria as the first one is repeated, which is a funny form that the aria appears again because of the appeal to appeal to come back. Bach played a very important role in the mathematical order in the structure of music. In addition to the Goldberg variant, the music of the B monogamy and the mathe- matics was composed according to very sophisticated mathematical rules. I can not resist admiration.
Of course this song has all kinds of riddles and a lot of anecdotes, but we do not need to be too obsessed with it. It is no exaggeration to say that these are the great treasures hidden in this song, and that the truth of Bach's music has been compiled in this one, because of the variety, variety, and infinite vitality contained in simplicity, Because. I think it would be a good vacation for our soul to be immersed in the infinite beauty of the Goldberg Variations in July when the hot summer nights are approaching.
Composition of movements
Aria, G major 3/4 beat, Saraband type as theme, using a decorative tone. The main melody also appeared in 1725, "The 2nd volume of the Clavier Small Songs for Anna Magdalena Bach".
Variation 1, G major. The first variation to the fourth variation is played on the first key. The first variant is the same as the subject and is composed of two parts. Prelude format.
Variation 2, G major 2/4 beats, and triple parts. Variation 3, G major 12/8 beats, and Canon. Variation 4, G major 3/8 Beat, motive is used again, and the basic melody appears in the base area.
Variation 5, G major 3/4 beat, 1 or 2 steps.
Variation 6, G major 3/8 beat, 1-key keyboard with 2 degree canon type. The reproduction of the subject begins one word late. The basic melody proceeds from the main part. Variation 7, G major 6/8 Beginning with a tempo, first or second-tier keyboard, is a Sicilian-style song. Variation 8, G major 3/4 beat, 2-stage keyboard, so it is difficult to play the current piano. A token-type song composed of two ministries.
Variation 9, G major 4/4 beat, 3 degree Canon type, played in one-key keyboard. In the third part, the second part is the canon type, and the base part is the free part.
Variation 10, G major 2/2 Beat, 4 Fugue in the form of Fugata, proceeded with the first key. Proceed to the basic melody of the theme.
Variation 11, G major 12/16 beat, tokata-style gong for second-tier keyboard.
Variation 12, G major 3/4 beat, 4 degree Canon type, and the theme reappears. Variation 13, G major 3/4 beat, 2-step keyboard playing, leading to stringed melodies.
Variation 14, G major 3/4 beat, 2-step keyboard. Prelude and Tokata-style song.
Variation 15, G Forged 2/4 beat, 1-key keyboard, 5 degree Canon type, speed is specified as Andante. This song ends the first half of the entire song.
Variation 16, the first half of the G major is 2/2 and the second half is 3/8. It proceeds in an overture format and is composed of the French overture type slow-fast-slow and the last slow part omitted. The first half is the song of Ananthe Pace composed of rhythm of the rhythm and the second part is the prelude form and the latter part is the form Fugeta of the third part of Allegro pace.
Variation 17, G major 3/4 beat, for 2-key keyboard.
Variation 18, G major 2/2, and 6-degree Canon for 1-key keyboard. The base area proceeds in a free polygon, and the basic melody of the theme proceeds to the upper bass part.
Variation 19, G major 3/8 beat, for the first-tier keyboard. It is a dance form and consists of three parts.
Variation 20, G major 3/4 beat, 2-step keyboard.
Variation 21, G Forged 4/4 beats, 7 degrees Canon type in a chromatic manner.
Variation 22, G major 2/2 Beats, played in harmonic progression in fugue form.
Variation 23, G major 3/4 beat, theme re-using polyphony, composed for two-stage keyboard.
Variation 24, G major 9/8 beats, 8 degree canon, and one key for the keyboard.
Variation 25, G forged 3/4 rhythm, Adagio pace, and a two-step keyboard, chronologically.
Variation 26, G major 18/16 beat and 3/4 beat in contrast. It's a prelude type song.
It consists of Variation 27, G major 6/8 beats, and a two-step keyboard. It is a 9-degree Canon type. Only the Canon part consists of two parts.
Variation 28, G major 3/4 beat, two-stage keyboard. Trill sound is used.
Variation 29, G major Guitar for 3/4 beat, first or second key.
Variation 30, G major 4/4 beat, and 1-key keyboard. Quadlibet. This is a form in which two melodies of the folk song type are combined and proceeded at the same time.
Aria, G major song 3/4, theme re-appeared and finished the entire song.
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