The Goldberg Variations they stand out among the universal piano repertoire as a majestic musical work that has never existed and that was also written. Johann Sebastian Bach was a renowned and famous composer in the history of Western music who represented the musical style of Baroque art.
What are Goldberg Variations?
The Goldberg Variations, BWV 988, is the name given to a musical style composition of a keyboard, composed by the baroque arranger of German origin Johann Sebastian Bach in the year 1741.
In its beginnings it was called by the author aria with different variations for harpsichord with two keyboards, namely: Aria mit verschiedenen Verænderungen vors Clavicimbal mit 2 Manualen, the musical work was arranged in the times when Bach acted as singer in the Church of Santo Tomás de Leipzig.
Its name comes from the harpsichordist and Bach student Johann Gottlieb Goldberg, it is estimated that he may have been the first to perform it. Likewise, it is considered a masterpiece of Bach's music.
The Goldberg Variations appear shaped for a two-keyboard harpsichord, which translates into a musical instrument with two keyboards, one of which is located above the other; perhaps, and considered normal in works arranged for harpsichord, when one of the hands is playing the piece on one of the two keyboards, while the other hand is on the other keyboard, being a practice for playing the harpsichord.
It is important to highlight that this keyboard instrument, -like the wind organ- was common in those times.
The Goldberg Variations in the plot of Bach's work: the Clavier Übung
The Clavier Übung, is the original name that was given, in the German language at that time, to the collection of keyboard compositions that were composed by Johann Sebastian Bach, in the course of his life, which he published in four fragments, during the years 1731 to 1742.
Currently the Goldberg Variations are known as the compound word Klavierübung, once translated into Spanish, it means "keyboard exercises", and that Bach acquired from his predecessor Johann Kuhnau, German Baroque composition, and organ player. and key. It is a categorical summary of his work for the keyboard genre, which was fragmented into four parts.
It is probable that his conception for which Bach himself designated Liebhaber, which translates virtuous and also rigid attracted lovers, Bach placed as a subtitle to this wonderful work, as well as to other of his works: Denen Liebhabern zur Gemüths-Ergetzung verfertiget
It is important to highlight that the first part of the well-known Clavier Übung, is formed in the six partitas (musical piece of a single instrument) such as BWV from 825 to 830, in the year 1731.
In the year 1735, they became known in the Italian Concerto, BWV 971 and the French Overture, BWV 831 as the second and third parts that were published in the year 1739, including the BWV organ partitas from 669 to 689 in the German mass, plus the four duets for the BWV clef from 802 to 805. The Goldberg Variations were published as the fourth and final installment.
This wonderful work of the Goldberg Variations, just as it becomes the first series of significant musical works, of counterpoint, improvisation technique and musical composition that values the link between two or more free voices, that Johann Sebastian Bach, will capture culminating his artistic career. musical, such as: : Musical offering, BWV 1079, Das musikalische Opfer from the year 1747.
It can also be seen in the Masterful Variations in reference to the Christmas choir “Von Himmel hoch”, BWV 769, Kanonischen Veränderungen über “Von Himmel hoch” da 1747 to 1748, as well as The Art of Fugue, BWV 1080, Die Kunst der Fuge.
The designated name Aria (main theme) mit verschiedenen Veraenderungen vors Clavicembal mit 2 Manualen, exclusively represents the two-keyboard harpsichord, known as the harpsichord, in particular as the ideal instrument for playing it.
Being one of the three opportunities, where Bach commented that it was a special musical instrument for the interpretation of his majestic works, to the beat of his Italian Concerto BWV 971 and the French Overture BWV 831. You can also enjoy Ovid's Metamorphoses
When the Goldberg Variations were published in 1741, contained in Book IV of the Clavier Übung, it was simply referred to as an "aria with different variations for harpsichord with two manuals". The majestic representative of the keyboard, as well as composer Johann Gottlieb Goldberg, his name was included in the work in 1802, just when Johann Nikolaus Forkel, German musicologist and music theorist, published his new biography of Bach.
However, as for the theme of the Goldberg Variations, Bach's masterpiece, it does not exactly follow the known pattern. From such an event, it is said that Johann Sebastian Bach was never a person who liked the variations on the theme, and as they are currently exhibited, note that in all his work there is only one work of the same style, as This is the case of the “Italian” variety.
This brilliant composer who goes by the name of Johann Sebastian bets on the Goldbergs, an essential and profound sense, than a simple act of showing off. In her own existence, returning from the Goldberg aria, she represents a great meaning, seeing as if the return of the Goldbergs at the end of her life had to be interpreted as a premonition of the last return to reality, that is, the reality of her authentic mortality.
Various versions of Bach's melodies, and from Goldberg's, have been constructed, and based on their arrangements, controversy has been generated between those who agree and those who do not prefer them.
Origin and controversy over the authorship of the aria
In this fragment of the article, we will be talking about the birth and dispute that refers to the authorship of the melody, continuing with the subject of Bach's biography, as we have mentioned in the previous paragraph, it is due to Johann Nikolaus Forkel, who exposes in it and the one that was published in the year 1802, the variations were under the responsibility of Bach, by Count Hermann Carl von Keyserlingk, Russian ambassador to the court of Dresden.
Who was the main author for Bach to become designated as the "Saxon court composer", supporting the harpsichord player belonging to his court, Johann Gottlieb Goldberg, being a brilliant disciple of Bach, was distracted with them at night , when the count suffered from insomnia.
This is why the count generously benefited Bach, giving him a gold cup, which had a large sum of louis d'or inside, similar to 500 thalers, at that time it was an annual floor as a kantor of the Thomaskirche of the Dresden city.
Similarly, Johann Nikolaus Forkel, shaped part of the biography of the year 1802, after 60 years, which its precision has given much to think about. It is likely due to the lack of dedication that would be placed on the first page of the work.
They say that at the time of the publication of the work, Goldberg was only 14 years old, what Forkel maintains has left him in doubt, despite the fact that Goldberg was already famous as an experienced harpsichordist, as well as a good lawyer. in matters of music.
However, it is good to note in this regard that in one of the current texts, the keyboard player and knowledgeable researcher on Bach, Peter Williams, states that the story Forkel tells is absolutely false.
Being a topic that always draws attention to the genesis of any particular topic, in this space, we want to limit a little more about the matter, since it sounds interesting to know its origin.
The story also tells that at that time, Goldberg was working in the service of Count Kayserling, Russian ambassador, and great admirer, and in some way defender of Bach. So, the count was a man who could not sleep, and he usually called the presence of his harpsichordist, so that from the room closest to him that was close to his, he would play and he would delight in the music of him during the night.
Likewise, it says in its history that on one of his journeys to Leipzig, Count Kayserling made a proposal to Bach, who would dedicate himself to writing musical pieces that in their content would show sweet and joyful aspects at the same time, that would be special for delight and entertain.
It is then, when Bach, preferred as a melody a sarabande that was written many years ago and was protected in a notebook of Ana Magdalena, and to which he added thirty variations, leaving the count fascinated with "its variations". For this he presented the composer with a copy covered in gold with a hundred louis d'or.
The authorship of the aria
Regarding this aspect, referring to the authorship of the melody, there has always been the fact of questioning, where some argue that it is really based on the original variations of Bach himself that, failing that, do not correspond, which are opposed to several theses of the style or linguistic expression, with plots that are based on research and analysis of the sources, as well as the date of the writing.
The researcher on the matter and Japanese musicologist, Yo Tomita, maintains that although the melody was also copied in text II of Anna Magdalena Bach's Little Book, that it was transcribed in his own handwriting, without leaving the name of the composer or the title of the piece, could imply that perhaps the author of the work was anonymous.
Regarding this theme, much is said, as pointed out by Yo Tomita, due to the fact that the aria in the bass, or perhaps the first part of it, is a common theme, from which I can distinguish several examples contained in the repertoire belonging to the XNUMXth century.
While other experts and researchers on the subject affirm that Bach only restricted himself to borrowing some of his ideas from when he was young for his melody. At the same time, other scholars, such as the German musicologist Arnold Schering, maintain that they are based on stylistic observation, and express that the scheme of modulation and enhancement is not original to Bach.
While the German writer and lawyer Franz Leopold Neumann defends the theory of Bach's non-authorship, while Robert Marshall, a businessman and politician, defends Bach's authorship, they went so far as to confront society with their points of view.
However, Yo Tomita concludes that apparently the concept expressed by Marshall has prevailed due to the expressions of the transcription of Anna Magdalena, approximately dated 1740, being more accurate than those indicated by his opponent. It is so much so that it can be verified that Magdalena transcribed the melody of some of Bach's writings, it is presumed that she could have used the employee to record.
All these conclusions, as well as those enunciated by the musicologist and Harvard University professor, Christoph Wolff, from the summary of the sources, seem to surpass the propositions previously based on stylistic study.
Likewise, the historian and musicologist David Schulenberg emphasizes that the melody has neither an Italian nor a French style, apparently what has exclusively a German courtly style, and some references that lead him to point out within the authorship of Bach, especially the beautiful transformation of the rhythm with notes that flow very firmly on the last note.
Publication
The publication of the Goldberg Variations was made in the year 1741, the same year that they were arranged, or it is likely that it was in the year 1742, while their creator was alive, which is not customary. The editor in charge of the work was the editor named Balthasar Schmid, from Nuremberg, with whom Bach maintained a great friendship.
The publisher Schmid came to print the work, through the process of engraving on special plates in copper material, although the best thing was that he would use movable types; the sentences of the first edition were transcribed by Schmid himself. It can be seen in the edition that its content has many misprints.
It can be evidenced on the cover of the work, the German letters that say: Clavier Ubung, bestehend, in einer ARIA, mit verschiedenen Veraenderungen, vors Clavicimbal, mit 2 Manualen.
Denen Liebhabern zur Gemüths, Ergetzung verfertiget von. Johann Sebastian Bach. Konigl Pohl. Curfl. Saechs. Hoff. Composer, Capellmeister. Director. Chori Musici in Leipzig. Nürnberg in Verlegung. Balthasar Schmids, which means in Spanish the following: “Practical keyboard exercises, consisting of an ARIA with various variations for key with two keyboards.
Composed for connoisseurs, for the enjoyment of their spirits, by Johann Sebastian Bach, composer of the royal court of Poland and the court of the Elector of Saxony, Kapellmeister and Director of Choral Music in Leipzig. Nuremberg, Balthasar Schmid, editor”.
Of this important text, there are only a small number of nineteen copies belonging to this first edition, which are kept in category museums and within collections of texts classified as strange.
Of all these copies, the one that has the most value, because it has some corrections and additions made by the composer himself, where you can see a complement where fourteen precepts BWV 1087 are recorded, which are kept in the National Library of France , Paris.
The aforementioned copies are the only material available for use by different contemporary publishers, who try to be loyal to Bach's purpose. However, it is maintained that the original and complete score was preserved over time, so it did not last. While one of the transcribed copies of the melody was found in the 1725 copy in the notebook of Bach's second wife, named Anna Magdalena.
The musicologist and professor Christoph Wolff considers that Anna Magdalena took on the task of copying the melody from the autographed score approximately from the year 1740, which appears on two blank pages that were inside the notebook.
shape and structure
The Goldberg Variations are made up of an exclusive theme, called an aria, which contains thirty variations and a replacement of the aria or aria da capo, which means a type of aria of baroque music characterized by its ternary form, in three parts.
Really, what unites them among all their parts is not because of a common melody, rather, it is because of a background of variations in harmony in the bass line. It is important to note that the melodies usually change, however, it is within the permanent theme.
The theme in the bass line
The main theme of the work, the Goldberg Variations, unfolds in the length of thirty-two arrangements in the line of the bass ostinato of the aria, which is a figure that is repeated many times in a piece of music, and of its first eight arrangements they are the same as those of the Chaconne theme with sixty-two variations in G major, Handel's HWV 442, as stated by Christoph Wolff.
Georg Friedrich Haendel, German composer, arranged his chaconne Spanish popular songs, between the years 1703 and 1706, which was published by the publisher Witvogel, in the city of Amsterdam in the year 1732, and then in the year 1733 in London, forming part of the so-called Suites de Pièces pour le harpsichord.
Being that Witvogel is famous for having taken advantage of Bach as a distributor of the works of the well-known composer and organist, German-Dutch Conrad Friedrich Hurlebusch, according to information obtained in the years 1735-1736 from the Compositioni musicali per il Cembalo de Hurlebusch, which could be obtained from the "Kapellmeister Bach of the St. Thomas School in Leipzig".
So Bach should have known what Haendel's chaconne was, either through the Amsterdam edition of 1732, or through the London edition of 1733, because Bach ended up making his arrangements of the variations in the year 1741.
Bach must have been alert to the simple two-part precept that supported Handel's climactic chaconne variation. In addition to what he visualized from the ostinato pattern composed of eight notes, which were used by Handel as the main theme that would motivate Bach, the complicated linked force that is stated in his obituary that is made known to you below:
He only needed to have heard a theme to know - surely at that very moment - of almost any complexity that art could produce from its treatment.
In Bach's inquiry, he found a great potential fit with respect to eight notes, which in turn generated a series of Fourteen Canons BWV 1807, which was later inserted into his personal Clavier Übung IV manuscript.
For the development of the cycle of Bach variations, he resolved not to adjust to the extreme of the eight notes, nor to the coercive knowledge of an absolutely masterful work. In this way, he developed the ostinato bass, in a well-representative way, making four times its extension, so that he could provide the reinforcement in harmony of a melody, which was enthralling and ingeniously distracting the attention of the bass, which translates a authentic structure that make up the cycle of variations.
The musical work is described by certain authors as a passacaglia, which means a musical form of Spanish origin, while others consider it a chaconne, however, it can be differentiated in the following: a chaconne theme generally expands in just four bars, while the aria expands into two large sections arranged in bars, each with repetition.
Bach, acting as a composer of passacaglias, is immersed in a large and extensive practice that contains Sweelinck, Scheidt, Froberger and Purcell, pre-Bach and his companions Johann Caspar Ferdinand Fischer, as well as his own uncle Johann Christoph Bach. ; some of which even used variations on the bass, very similar to Bach's own in his composition.
It is worth mentioning that Bach raises the variations to an extreme level, that only subsequent works are qualified as comparable, such as Beethoven's Diabelli Variations.
Variations on Bach's work
The Goldberg variations, it is good to point out, that Bach did not dedicate himself to creating quantities of works in the form of aria with variations, moreover, it can only be described exactly as one of them, the Aria variata alla maniera Italiana BWV 989, which he made his arrangement at Weimar in the year 1709.
The truth is that the Goldberg Variations should not be framed with this work, as can be seen in the melodic variations, being two works of great notability, such as the Passacaglia for organ BWV 582, as well as the Chaconne in D. minor of the solo violin game marked with the number 2 BWV 1004.
It is very probable that Bach had some concern in opposition to the musical manner of the variations, since many famous predecessors and named contemporaries heralded majestic examples that had given them great remembrance.
Bach was a character who was never interested in achieving easy triumph, which was set as the objective of trying to exalt the genre in general with a communicative character of the variations at a high artistic and at the same time spiritual level that was not known at the time. .
Internal structure of the work
Roswitha Borsche maintains that the work is structured according to the formal principles of baroque art. It can be seen in the sixteenth variation, which is shaped in the manner of a French symphony, perhaps because of its slight introduction, which belongs to its first part of the forthcoming flight, not strictly, to the next half of the theme in the bass, which ponders the elaboration of the two elements of the work.
After exhibiting the aria, at the beginning of the musical piece, the thirty variations are produced. In every three variations, of the series of thirty, a precept is shown following a high pattern. So, in the third variation there is a precept to the chord, the sixth refers from one precept to the second, which begins at the interval of the second over the first entry; while the ninth variation is a precept of the third, and in this way we reach variation 27, which refers to a precept of the ninth.
In the final variation, instead of a precept as might be expected, it refers to a quodlibet, which translates a musical form that combines songs in counterpoint, usually popular themes.
Likewise, it can be seen, in variations 10, Fughetta and 22, a musical procedure, Alla, a short one that is positioned in large exclusive spaces in the symmetrical structure, but, with a distance of six variations, in relation to variation 16 central, which forms the axis, the Overture, which means an opening, is the instrumental introduction of a dramatic work, musical or not, which points to a hidden large-scale ternary structure for the sections.
Similarly, it is noted that the harpsichordist Ralph Kirkpatrick emphasizes the Goldberg Variations, among the precepts that are equally oriented to the model.
In the case that the main elements are avoided both at the beginning and at the end, precisely in the aria, the first two variations, being: the quodlibet and the aria da capo, the remaining elements are classified as follows: the variations that are placed followed after of each precept, there are genre pieces of different types, among which three baroque dances can be highlighted, (4,7 and 9); a fugheta (10); a French overture (16), and two embellished arias that are placed in the right hand (13 and 25).
The others that appear in second place, after each precept (5, 8, 11, 14, 17, 20, 23, 26 and 29) are those referring to Kirkpatrick, called "arabesques" that is: variations in a living space with Enough crossing of hands. This ternary model: canon, gender dance and “arabesque”, is used a total of nine times in a row, until the quodlibet fragments the circle.
Once the thirty variations have been completed, Bach maintains that Aria da Capo è fine, which translates that the interpreter must begin with the beginning (da Capo) and begin with the interpretation of the aria before ending.
Wolff maintains the opinion that Bach intersects the canonical movements in a systematic way, but in a most reserved way, in order to appear the level of perception of the one who interprets, while the one who listens to the canonical counterpoint, and the non-canonical counterpoint, a dizzying display of its magnificent design and natural appeal should not be separated.
So from the combined view of Kirkpatrick, Wolff and Dahler the variations can be conceived as follows:
- Genre dances: Variation 1 (baroque dance: courante). Arabesques: Variation 2. Canons: Variations 3 (unison canon)
- Genre dances: Variation 4 (baroque dance: passepied). Arabesques: Variation 5 (arabesque). Canons: Variation 6 (canon to the second)
- Genre dances: Variation 7 (baroque dance: jig or Sicilian). Arabesques: Variation 8 (arabesque). Canons: Variation 9 (canon to the fourth)
- Genre Dances: Variation 10 (fugheta). Arabesques: Variation 11 (arabesque). Canons: Variation 12 (canon to the fourth)
- Genre dances: Variation 13 (aria for right hand). Arabesques: Variation 14 (arabesque). Canons: Variation 15, (canon to the fifth)
- Genre Dances: Variation 16 (French Overture). Arabesques: Variation 17 (arabesque). Canons: Variation 18 (canon to the sixth)
- Genre dances: Variation 19. Arabesques: Variation 20 (arabesque). Canons: Variation 21 (canon to the seventh)
- Genre Dances: Variation 22. Arabesques: Variation 23 (arabesque). Canons: Variation 24 (canon to the eighth)
- Genre Dances: Variation 25. (aria for right hand). Arabesques: Variation 26 (arabesque). Canons: Variation 27 (canon to the ninth)
- Genre dances: Variation 28. Arabesques: Variation 29 (arabesque). Canons: Variation 30 (quodlibet)
Bach Goldberg Variations
This part of the article will roughly describe the aria and the Goldberg Variations, according to the opinions raised by various performers and composers. It should be considered that they have been obtained from different sources and that they also coexist in various versions of how their interpretation should be addressed, however, it is good to make it known that not all of them appear in the following paragraphs.
The musical work was arranged for a harpsichord with two keyboards or manuals. The following variations can be seen in the score: 8, 11, 13, 14, 17, 20, 23, 25, 26, 27 and 28, which must be interpreted with two manuals, as long as the variations: 5, 7 and 29, can be performed with one or two keyboards.
However, with great complexity, the musical work can be carried out, also by means of a single-manual harpsichord or, failing that, with a piano. It should be noted that absolutely all the variations are reflected in shades of G major, except for variations: 15, 21 and 25, which are recorded in the tone of G minor.
The Goldberg Variations are arranged in two elements, which means, a set A, which is followed by a set B, being generally at the moderation of the interpreter, in the case that he reproduces it or not, either of the two, or also it may not do it with any of the sets.
The Hungarian-born pianist András Schiff reasons that Bach shows the performer that he must reproduce each set or section, which has the consequence that not complying with this will devastate the graceful symmetry of the musical work and its proportions: “great music is never too long, what is too short is the patience of certain listeners"
Most of the Goldberg Variations are made up of thirty-two bars, which in turn are broken up into two sixteen-bar parts that must be played once each. However, the following variations are not included: 3, 9, 21 and 30, because they contain two eight-bar parts, each of which must be played once; as well as the variation 16 made up of a first part of sixteen bars, and another second part with 32 bars, which must each be reproduced in the two parts.
The name assigned to each of the variations, which is presented in progress, is identical to the one used in the editions of the Bach-Gesellschaft, which refers to the society created in 1850, which from then on , accumulates, edits and publishes all the famous works of Bach.
The Bach-Gesellschaft society, to fulfill its objective, was in an arduous task of collecting and completing, for more than fifty years, to make possible a first collection that was complete. Among them, they have been left as they are, respecting the punctuation marks, the content of upper and lower case letters, as well as the abbreviations of the Bach-Gesellschaft, except for some that are found in a significant manuscript, that have been taken from the printed edition, by Bach himself, which are highlighted in square brackets.
Aria
When speaking of the term Aria, it means the piece of music, which provides the thematic element for the Goldberg variations. As is the case with a representative baroque “aria with variations”. The variations are based on the melody of the opening aria, however, in this case it is the line in the bass, exclusively the harmonies that it emanates, which will function as the main base of the variations.
The aria of the Goldberg Variations is a sarabande in ¾ time, which is made up of two sets or sections of sixteen measures each, and is normally present during the work, except in the variations: 3, 9, 21 and 30, where the number of arrays is halved. It is important to note that the aria, as well as the variations in each set or section, must be played once.
The Goldberg Variations: 2, 4, 6, 16, and 25, place different endings for the first and second plays of each section. The aria is a melody that is very well decorated. The aria in the French style is normal to look well embellished to highlight the melody. There are certain interpreters who decide not to show the ornaments either partially or totally, so perhaps the most striking version is the one corresponding to Wilhelm Kempff's, on the piano.
However, Peter Williams, a renowned musicologist, affirms that the truth is that the theme of the variations does not arise from the aria, on the contrary, it comes from the theme of the first variation. This opinion affirms by safeguarding that the work refers to a chaconne, rather than a work that continues the true aria form with variations.
Then, the aria is shown as a sarabande, which is reproduced in an exact way, to what is recorded in the second notebook of Anna Magdalena, being Bach's second spouse who led to collect the arguments in the year 1725. Because of the similarity of Anna Magdalena's lyrics at that time, it is presumed that she wrote the aria for the year 1740.
You can see the basic tone of G major, at the end of the first set or section of the usual theme in rhythm that modulates the dominant D, and then, through the tone of E minor, the respective minor of G major, the work goes back at the conclusion of the theme to the tonic.
Next, we will be talking about the different variatios that mark the aria, namely:
Variatio 1 to 1 Clav. Variation 1: Minute 9:25
This 1 to 1 Clav variatio is a nice, comfortable variation played in ¾ time that brings out the soft, dreamy tone of the aria. The rhythm stands out with movements between bars 1 and 7, by placing the right hand to the accent on the second beat.
The position of the hands are intertwined in measure 13, at the moment of registering the high to the low, returning the syncopation in another two measures. According to the opinion expressed by Dahler, the variation can be conceptualized as a dance similar to a courante, which means baroque dance movement in triple time.
During the first two measures of the second part, the rhythm generates that of the first part, however, immediately afterwards a different idea is embedded. Expert musicologists Williams and Dahler maintain that this idea gives a variation of a polonaise halo, a musical form with moderate marching movement and ternary rhythm.
The own rhythm emerged from using the left hand, as Bach used in his Partita to play solo violin number 3 of his pieces and his musical formulas used for solo violin BWV 1001-1006, and in the entry in the major note of the first text from The well-moderated harpsichord.
Many studies in the musical art, maintain that the theme referring to the bass line of this variation in its content is based on the other variations, and not precisely on that of the aria.
Variatio 2 to 1 Clav. Variation 2. Minute 10:35
In the simple counterpoint piece of music, carried in two parts in 2/4 time. Two lines intertwine in a permanent action of their impulses in the content of a continuous melody present in the bass. It is a piece similar to a canon. In each of the sections it shows a different ending for the first and the second reproduction.
Variatio 3. Canone all'Unisono. A 1 Clav. Variation 3. Canon in unison: Minute 11:25
It refers to the first of the Goldberg Variations, in absolute canon form, or artistic movement, in this specific case a chord canon: the tenacious melody begins precisely on the same note as the previous one. As in all the other canons of the Goldberg Variations, except in the case of variation 27, Canone alla nona, the bass line that sustains throughout the variation.
The trace of 1/8 time and the use of tresillo, which refers to a special valuation group formed by three equal figures, point to a certain kind of reduced dance. A large number of performers usually play it in moderate time, however, others choose to play it softer, such as the German harpsichordist Hans Pischner or Charles Rosen on the piano.
Variatio 4 to 1 Clav. Variation 4: Minute 12:55
As with the passepied, it is a movement with a baroque dance style, it is a variation that has been captured in 3/8 time where rhythms in eighth notes predominate. It is worth noting, in this respect, that Bach employs a similar emulation, however, it is not precise: the musical model of one part then reappears a beat later in another part, sometimes transformed.
It can be seen that each set or section usually culminates in a different way in the second reproduction. Being the case of the organist Kate Van Tricht, she interprets this variation in a slower speed.
Variatio 5 to 1 ovvero 2 Clav. Variation 5. Minute 13:45
This is the first of the Goldberg Variations, in two parts, performed with clasped hands. It is shown in ¾ time. It is a fast melodic line expressed predominantly in sixteenth notes, which is next to another melody, with a longer note duration, which leads to extensive jumps.
This type of Goldberg Variations is used, in the well-known "Italian style" of crossing the hand: one hand moves perennially from right to left, between the high and low sounds, which pass one over the other hand, while lingers in the middle of the keyboard playing the most dizzying sounds.
Many performers play this variation with extravagant speed, which must establish great accuracy. Certainly Glenn Gould's versions, when he is at the piano, he is among the fastest, lasting 35 seconds with no playback. But, it should be mentioned that certain interpreters, being of the category such as Kenneth Gilbert at the harpsichord, perform it in a more comfortable and relaxed way.
Variatio 6. Canone alla Seconda a 1 Clav. Variation 6. Canon to the second Minute 14:20
This is the sixth of the Goldberg variations, it is a canon to the second: the invariant begins with a major second rest, with a pitch higher than that proposed. The piece is based on the decadent scale in 3/8 time.
This piece is described by Kirkpatrick as charged with "an almost melancholy tenderness". It can be seen in each of the sections, it has a different ending for each of its two reproductions.
Variatio 7 to 1 ovvero 2 Clav. At the time of Giga. Variation 7. Minute 15:00
This variation on his own reproduction of the Goldberg Variations, Bach, records that this dance is performed in 6/8 time, and was recommended to be performed in di Giga time, clarifying that the jig is an insightful and high-energy dance.
Because the reproduction of Bach was not placed in a private French compendium until 1974, versions prior to this variation were carried out, in a leisurely way, often as a loure or a Sicilian.
However, it can be pointed out that there are interpretations after 1974, being the recordings of Glenn Gould, Wilhelm Kempff and Angela Hewitt, among many others that continue to act slowly, perhaps because it is difficult to ignore the usual way of interpretation. , that for more than two centuries, or as the keyboard expert and interpreter, the well-known David Schulenberg, stated, about the unveiling of Bach's register, "which amazed the critics belonging to the XNUMXth century, who indicated that the jigs acted as fast and ephemeral.
For what they express, that, "despite the Italian terminology "giga" refers to a "French giga", which is usually more leisurely, then, Schulenberg emphasizes that the structure of the existing rhythm in this variation is similar to that of the jig of the second of the French notes, or the jig of the Overture in its own French style, BWV 831, exhibiting in both the bass line and the well-embellished melody.
To conclude, Schulenberg maintains that "it is not necessary to go fast" and adds that the "numerous short trills and appoggiaturas prevent going too much in tempo". Similarly, the pianist Angela Hewitt, states that Bach was trying to warn against agreeing on a very slow speed, in order to transform the dance into a forlane or Sicilian form, which agrees with Schulenberg, who refers to a " French giga”, but not to an “Italian giga”, which he interpreted as a result in slightly accelerated speed.
Variatio 8 to 2 Clav. Minute 16:20
In these Goldberg Variations, he appears again in two parts with linked hands, in 3/8 time. With a French style, which is used in this opportunity to cross the hands: the two parts play in the same space on the keyboard, one is above the other. It is not usually complicated to perform on a two-manual harpsichord, however, it is quite difficult to play on the piano instrument.
Most of the measures show a well-distinguished pattern made up of eleven sixteenth notes, and a sixteenth pause around it, or ten sixteenth notes and an eighth note. It can be easily seen that there are huge jumps in the melody, as is the case in bars 9 to 11: a jump of two octaves, appreciated from a low B, middle C, in bar 9, as well as the middle C to one eighth, which is high in bar 10.
It can also be seen from G above middle C, to G an octave higher in measure 11. The two sections end with declining passages in XNUMXrd notes, which means a musical note with duration equal to half a sixteenth note.
Variatio 9. Canone alla Terza a 1 Clav. Canon to the third: Minute 17:15
This variation refers to a canon to the third in 4/4 time. The bass line is more energetic than previous canons. It is a very short variation, only sixteen bars in content, usually played at a leisurely speed.
Variatio 10. Fughetta to 1 Clav. Minute 18:15
It is the tenth variation, being a small fugue for four voices, indicated alla breve, with a theme that is shown in four bars, ornamented and somehow evoking the melody of the aria at the beginning. Many performers discard certain embellishments, such as with Charles Rosen at the piano; and Christiane Jaccottet at the harpsichord. Although others, such as Keith Jarrett on harpsichord, add extra embellishments.
Flaunt the entirety of the first section of this variation; the theme is shown first in the bass, beginning at G above middle C. While, the answer in the tenor voice enters in measure 5, but, it is a response to the pitch, which is why certain changes sound affected.
Then, the soprano voice that entered measure 9 intervenes, although it leaves the first two measures of the submissive theme perfectly, but the other part undergoes transformation. The final input is generated when the top of bar 13 appears.
Meanwhile, the second section unfolds using the same thematic element with a certain transformation. It looks as if it were a counterexposition: the voices enter one after the other, they all begin by exhibiting the subject, in certain cases, it is observed altered, as in the first section.
The section begins with the subject, exposing the soprano voice, along with an active line in the bass, which means that the line in the bass is the only one that does not enter with the subject until reaching measure 25.
Variatio 11 to 2 Clav. Minute 19:15
It refers to one of the Goldberg Variations, in the toccata style, which means a piece of Renaissance music and Baroque music for keyboard instruments, with a virtuoso form in 12/16 time. It can be made especially for two keyboards. It is developed exclusively with passages of scales, arpeggios and trills. Some register transformations significantly complicate their transformation on the piano.
Variatio 12. Canone alla Quarta. Minute 20:10
It refers to a canon in transformation to the fourth in 3/4 time: the answer enters in the second time, although in the opposite direction to the proposal. During the first section, the position of the left hand is next to the bass line that is reflected in reproduced quarter notes, in measures: 1, 2, 3, 5, 6 and 7.
Then we have that these reproduced notes are shown the same in the first measure of the second section, being measure 17, two D and one C; and it is somewhat transformed, in bars 22 and 23. Whereas in the second section, Bach, I change the key smoothly by introducing certain supports, such as bars 19 and 20, and triplets, bars 29 and 30.
In this variation a time-weighted interpretation can occur. On some occasions, certain performers, such as Glenn Gould at the piano, or Jean Guillou at the organ, have managed to make vertiginous versions.
Variatio 13 to 2 Clav. Minute 21:45
It is a slow, simple and exaggeratedly ornamented sarabande variation, which takes place in ¾ time. The great part of the melody is embodied in musical notes, it is ornamented with certain appoggiaturas, which are observed in the second section, while certain embellishments.
In most of the length of the piece, the melody is registered in a single voice, it can be noticed that in bars 16 and 24, there is a fabulous effect generated by the use of an added voice.
Variatio 14 to 2 Clav. Minute 24:25
This variation features a spirited toccata, composed in two parts with interlocking hands in ¾ time, which has plenty of trills and other embellishments. It can be played exclusively by harpsichord with two manuals, and contains many very long jumps between scripts.
It can be noticed that the embellishments and jumps are exhibited from the first bar: the piece begins with an evolution from G, two octaves below middle C, with a descending mordent (musical embellishment), joined to a G two octaves rising. lies on a trill that returns to the beginning.
Once compared to variation 15, Glenn Gould details it as "certainly one of the fastest pieces of neo-Scarlatism imaginable."
Variatio 15. Canone a la Quinta on opposite bike A 1 Clav. Walking. Minute 25:30
In this being one of the Goldberg Variations, it is found in the canon of the fifth, in 2/4 time indicated. In variation 12, it is opposite, with the proposed surge changed in the second bar. This is the first of three variations found in G minor, and its nostalgia is sharply out of tune with the vigor and joy of the previous variation.
According to the observations by the pianist Angela Hewitt, it is noted that there is “a wonderful effect at the end of this variation: the hands move away from each other, with the right hand raised in the air, after an open fifth. It is a harmonious fade, that the audience is surprised, in the expectation of continuing to listen, it is an ideal ending for the middle of this piece of music”.
While Glenn Gould said of this variation: “It is the most rigid variation and with a beautiful canon, the strongest and most beautiful that I know, the canon is in inversion to the quinine. It is a piece that is passionate, and anguished, and that elevates at the same time, that is not found in any aspect outside the space in the Passion, according to Saint Matthew, indeed, he has always thought of variation 15 as a miraculous event of a Good Friday, excellent”
Variatio 16. Overture to 1 Clav. Minute 30:30
In this part, there is a series of variations that can be qualified that are divided into two pieces, which are balanced in the first fifteen and in the next fifteen. The division is marked by a grand overture, noted as majestic, found in the Peters edition, with the opening beginning with particularly deep chords at the beginning and end.
It can be said that this typical overture is a French overture, which is based on a slow chord with a dotted rhythm, which dramatically confronts the counterpoint of the next section shown as an allegretto.
So, unlike the previous variations mentioned in section B, it is comparative to section A, the opposition is much more visible in this variation, with a remarkable variety between the leisurely, and majestic melody, and the more energetic and shrewd overture, which shows clear, that is to say more or less in the middle of the variation, after measure 16.
Variatio 17 to 2 Clav. Minute 32:10
Among the Goldberg Variations, it is another of the virtuosa toccata, which is fragmented into two. Williams feels echoes of Antonio Vivaldi and Domenico Scarlatti in this variation. It is special to be used with two manuals, the piece of music needs interlacing of hands. It is about ¾ time, and is usually played at a gently brisk speed. Rosalyn Tureck, American pianist and harpsichordist, is among the few performers who have recorded a slow version of this variation.
While working on his new 1981 recording of the Goldberg Variations, Glenn Gould appreciated playing this variation at a softer speed, keeping the speed of the previous variation, i.e. 16, however, he finally decided not to do it. , because the "variation 17, is one of the light, known as vain, compilations of scales and chords that Bach accepted when he was not dedicated to plasmas virtuous and adequate matters such as fugues and canons, and systematic speed, deliberate, Germanic ”.
Variatio 18 Canone alla Sesta a 1 Clav. Minute 33:05
This being one of the Goldberg Variations, it refers to a canon to the sixth in 2/2 time. During the canonical action of the high voices, interruptions are generated. Considering that the structure of the canons of the Goldberg Variations, Glenn Gould brings up this variation, as a strong example of "deliberate duality of repetitive emphasis, the canonical lines are needed to support a role of passacaglia, which is the capricious abandonment by the bass line”.
Gould, referred commenting with great affection on this canon in a radio talk, with music specialist and critic Tim Page, pointing out: “The canon at the sixth, I adore it, it is a beautiful jewel. Although, I adore all the canons, however, this is one of my favorite variations”.
Variatio 19 to 1 Clav. Minute 34:05
Referring to this framed within the Goldberg Variations, it is similar to a dance, it is found in three voices in 3/8 time. It is the same sixteenth note symbol, which is permanently used, transforming and switching between the three voices that contain the piece. The cantus firmus, which refers to a pre-existing melody that forms the basis of a polyphonic composition, comes up again.
This type of variation contains series and inverted counterpoint, both at the beginning and in the second section.
Variatio 20 to 2 Cla. Minute 35:10 (Another crazy interpretation)
It is a virtuoso toccata, composed in two fragments in ¾ time. It is indicated for the key with two manuals, and a lot of interlacing of hands is needed. The piece develops in variations with texture introduced in the first eight bars, where it is evident that one hand plays a continuation of eighth notes, while the other is next to other sixteenth notes, after each eighth note.
Consequently, in most interpretations there is a strong contrast between the delicate and distinguished Goldberg Variation 19, and the strong and fast passages contained in this variation. However, many performers, as is the case with Claudio Arrau at the piano, prefer to play both pieces at the same time, soberly virtuosic, which produces less contrast in the pieces.
Variation 21. Canone alla Settima. 36:00 minute
Of these Goldberg Variations, it represents the second, with the key of G minor, at variation 21 it is a canon that is found in the seventh in 4/4 time. Kenneth Gilbert qualifies it as an Allemande, which means baroque German dance. The bottom line, which begins with a low note, which many performers usually emphasize, comes from a chromatic decline from a higher note, only heading towards the canonical voices from the third measure: a similar model, with a difference being slightly bolder, it unfolds on the bass line at the start of the second section, which begins with the opposite opening motif.
When compared to variation 15, being the first variation in G minor, this piece represents being more vertiginous, it is shown walking in the Peters edition.
Variatio 22 Alla breve a 1 Clav. Minute 38:15
Among the Goldberg Variations, indicated alla breve, it shows four parts captured with varied mimic landscapes contained in all voices, except for the bass, which belongs more to a fugue. In this the only ornament that accompanies it is a trill, which is well performed in a whole, which is extended in two bars: 11 and 12; so that certain players who perform the Goldberg Variations with reproductions add certain minor embellishments in the second repetitions of each of the sections.
The theme found in the bass, where the set of variations is elaborated, is perhaps more clearly heard in this variation, just as it is in the quodlibet, all due to the simplicity of the bass line that is remarkable in this case.
Variatio 23 to 2 Clav. Minute 39:20
Of the Goldberg Variations, this is another insightful one, composed in two fragments for harpsichord with two manuals, in ¾ time. It begins with the hands chasing each other, appearing to be on the melodic line, which begins with the left hand with a forceful attack on G as well as middle C, trickling from D above A, lo that amazes the right hand, simulating the left hand as if it were at the same height, however, then with an eighth note, in the first three measures, it culminates with minimal ornamentation at the conclusion of the fourth measure:
This type of scheme is reproduced in bars 4 to 8, the only thing is that with the left hand it is simulated to the right, and with the scales that go up, instead of descending. The hands are replaced in small explosions embodied in notes, with a short duration until reaching the last of the three bars that correspond to the first section.
While in the second section, it starts with a similar change in small bursts again, and then goes into a dramatic piece of third touches, successively with both hands.
Many experts on the subject have expressed their comments on the matter, for example, the pianist Angela Hewitt, expresses: «the burst of double thirds and sixths really pushes the keyboard technique that existed in his time to the limit, opening the way to future keyboards. composers'; while the well-known Peter Williams, delighted by the enhancement of the piece, asks himself the question "Can this really be a variation of the same theme that is behind the adagio number 25?"
Variatio 24. Canone all'Ottava a 1 Clav. Minute 40:15
This is one of the canon's Goldberg Variations to the octave in 9/8 time. The offer is answered an octave below, as well as an octave above: being the only variation present in the proposition, it switches between the lines in the middle of the section. In this variation, the adornments are not present during the first section, except for some support, however, in the second section several trills and certain musical adornments are shown, formally indicated by the author.
Variatio 25. to 2 Clav. Adage. Minute 41:55
This variation 25, is the third and last of the G minor variations, has three sections, and is shown as an adagio, meaning repeated phrase, in the Bach copy, and is in ¾ time. The melody is brilliantly captured in sixteenth notes and sixteenth notes, with great chromaticism. It is a variation that is usually performed in a time of five minutes, and is longer than the others, however, it has only thirty-two measures.
This variation is nicknamed the "black pearl", of all the Goldberg Variations, given by the harpsichordist and pianist Wanda Landowska, this Goldberg Variation 25, is estimated by many connoisseurs as the most beautiful and impressive of the work in all its intensity. .
Likewise, Williams dared to write about her as "the beauty and dark passion of this variation evidently make it the highest emotional level of content in the entire work", while Gould maintains that "the appearance of this variation nostalgic and tired ditty, it is a masterstroke of psychology ».
It should be remembered that the radio conversation by Tim Page, who describes it as a variation that has an "extraordinary chromatic texture", to which Gould approved giving his agreement to the time he expresses: "I do not think there is a richer vein of enharmonic relations at any point between Gesualdo and Wagner.»
Variatio 26. to 2 Clav. Minute 47:55
The shrewd contrast with the introspective and enthusiastic nature of the preceding Goldberg Variation is another virtuosic toccata-style piece, fragmented into two, joyous in character and dizzying as well.
Found under swift arabesques, this variation is typical of a sarabande, according to what Gilbert stated. Two compás premises are shown on 18 and 16 for a perennial melody expressed in sixteenth notes and ¾ for the harmony in quarter notes and eighth notes; throughout the last five bars, both the left hand and the right hand play to the 18/16 time signature.
Due to the speed of the piece, and the added supports that were found to be present in Bach's private copy, this variation qualifies as one of the most complicated to play. There are few interpreters, who in an outstanding way, like Rosalyn Tureck at the piano, use moderate speed. Most of the performances continue at a suitably fast speed.
Many studies and investigations by expert musicologists, such as the case of the music teacher named Cory Hall, recommend that this variation was suggested to be performed at a slower speed than that of the previous variation.
Variatio 27. Canone alla Nona. to 1 Clav. Minute 48:50
This variation is a canon to the ninth in 6/8 time. Being the only one of the canons where the use of two manuals is explicit, in addition to being the only sublime canon of the work, due to the fact that it does not have a bass line. Likewise, it is the last canon that is inserted in the Goldberg Variations.
Variatio 28. to 2 Clav. Minute 50:15
It is one of the Goldberg Variations where the toccata is present in two fragments in ¾ time. It requires a great interlacing of hands, it is also an authentic song of trills: the trills are written in fusas, and are displayed for the most part in the bars.
The piece begins with a pattern performed by the right hand, which plays with three notes per measure, creating a musical line on the trills played by the left hand. A musical curve follows, which is marked in sixteenth notes, bars 9-12.
The first section ends, showing trills again being made by both hands, and mirroring one on top of the other: the second section begins and ends with the same thought, with a movement opposite to the view in bars 9 to 12. The great part of the measures, trills are shown in both hands between measures 21 and 23.
Variatio 29. a 1 ovvero 2 clav. Minute 50:15
It is one of the Goldberg Variations, being a piece considered virtuosic, which is widely different from the rest of the work: instead of being a counterpoint, it is mostly based on strong chords, which alternate with wonderful chord sections. It is in ¾ measure. This is a huge variation that adds a halo of bravery after the sheer brilliance of the variations that preceded it. Glenn Gould, states about this as "the variations of 28 and 29, being the only and exclusive case of cooperation between the motifs of both continuous variations".
Variatio 30. Quodlibet. A 1 Clav. Minute 52:15
This is found within the Goldberg Variations, it is based on a quodlibet, contained in various melodies of German origin, two of which pray: «I have been away from you for so long, come closer, come closer», Ich bin solang nicht bei dir g'west, ruck her, ruck her; and the other "Cabbage and turnips have made me go away, if my mother had cooked meat, I would have stayed", Kraut und Rüben haben mich vertrieben, hätt mein' Mutter Fleisch gekocht, wär ich länger blieben.
Especially the theme called Kraut und Rüben, with the name of La Capricciosa, was previously used by Dietrich Buxtehude, to execute his partita number 32 in G major, Bux WV 250.23. The others have been forgotten. While Forkel expounds on the quodlibet, recalling the family tradition of the Bach family, to enjoy musical games at their family gatherings, it should be noted that a large part of Bach's lineage were musicians. In the same way as they composed, they prepared a choir.
In their fervent beginnings, they arrived with parties that generally contrasted. They dedicate themselves to singing popular melodies with comic and unseemly content, merging unexpectedly at times. So, this kind of modulation invented between songs, they called it quodlibet, the ones they enjoyed singing, plus it generated uncontrollable laughter in all who listened to it.
It tells the story, of an anecdote, probably true on the part of Forkel, being that he had the opportunity to talk with Bach's sons, in a sincere and transparent way that Bach tried to make this quodlibet, it was a buffoonery, of so that many who listened to it kept it today from this point of view.
While for Borschel, exactly this conclusion with the quodlibet, is what it represents again, that the subtitle does not present a vague baroque formula, on the contrary it becomes a recreatio cordis, which translates a rejoicing of the heart, in the good Lutheran sense. of the phrase, which has its space in the company of laudatio Dei, which means Praise to God, which Bach conceptualized on different occasions as what gave meaning to his music.
Aria da Capo e fine
This expression means the note-by-note repetition of the aria, however, it is usually done in a very different way, often with a presentation that could be described as melancholic.
The return of the aria adds symmetry to the work, perhaps inspiring elements of the cyclical nature contained in the work.
BWV 1087: fourteen canons from the bass of the aria from the Goldberg Variations
In this other where Bach's late counterpoint is present, called Vierzehn Kanons über die ersten acht Fundamentalnoten der Aria aus den Goldberg-Variationen, it contains fourteen arranged canons, from the eight basic notes of the aria bass of the Goldberg Variations.
This work was found in Strasbourg, Alsace, France, in 1974, considered to be part of a complement to the personal printed edition of the Goldberg Variations, owned by Bach.
Likewise, it is mentioned, in canon number 11 and 13, that they appear similar to a first version of the canons BWC 1076 canon for six voices, and BWC 1977 canon for four voices with the subject as bass, which are personified in the famous portrait of Bach, from the art painted by Elias Gottlob Haussmann from the year 1746.
Transcriptions and versions of the Goldberg Variations
In this part, we will be talking about how the Goldberg Variations have been present in various free versions, in the hands of many performers and composers, either because they have transformed the instruments, the notes or both elements, among which can be mentioned:
The special reproduction to be played on the piano, the one that has been transformed, by Ferruccio Busoni.
Year 1883
Josef Rheinberger. Transcription for two pianos.
Year 1912
Józef Koffler. Playback for four-hand piano
Year 1938
Józef Koffler. Reproduction for orchestra, string orchestra.
Year 1975
Charles Ramirez and Helen Kalamuniak. Transcription for two guitars.
Year 1984
Dmitry Sitkovetsky. Reproduction for string trio. The same has been written for string orchestra.
Year 1987
Jean Guillou. Transcription for organ.
Year 1991
Joel Spiegelmann. Special playback for synthesizer
Year 1997
József Eötvös. Transcription for guitar
Year 2000
Jacques Loussier. Composition for a Jazz trio.
Year 2003
Karlheinz Essl. Arrangement for string trio and live electronics.
Year 2009
Catherine Finch. Full transcription for use on harp.
Year 2010
Frederick Sarudiansky. Musical arrangement for string trio.
Year 2011
James Strauss. Full play for flute and harpsichord, or flute and piano.
essential discography
The Goldberg Variations have also been used in this genre, which are disclosed below:
Año 1933: November in Paris. Wanda Landowska. EMI 5 67200, ADD, key
Año 1942: Claudio Arrau. First piano recording
Año 1945: Wanda Landowska. New York. rca, key
Año 1954: June 21. Glenn Gould. CBC, monkey, piano
Año 1955: June 10th. Glenn Gould. New York. Sony Classical 52 594. ADD, piano
Año 1957: Rosalyn Turek. Phillips, piano
Año 1959: Glenn Gould. Live recording at the Salzburg Festival. Sony Classical 52685, ADD, piano. Ralph Kirkpatrick. Deutsche Grammophone 439 673-2. ADD, key
1960-1961 year: Month of June. Helmut Walcha. Hamburg. EMI 4 89166. ADD, key
Año 1969: Month of June. Charles Rosen. New York. SonySBK 4817. ADD, piano. July. Wilhelm Kempff. Deutsche Grammophone 439 978-2. ADD, piano
Año 1978: Gustav Leonhardt. Deutsche Harmonia Mundi GD77149. ADD, key
Año 1980: Trevor Pinnock. Archiv Production 415 130-2. ADD, key. João Carlos Martins. Concord Records 1343-12023-2, piano
Año 1981: April and May months. Glenn Gould. New York. Sony Classical 52619. DDD, piano. Month of June. Alexis Weissenberg. Wagram Room, Paris. EMI – DDD, piano
Año 1982: February month. Grigory Sokolov. Leningrad. Live, Melodija, piano. Month of December. Andras Schiff. London. Decca 417 116-2. DDD, piano
Año 1985: Month of October. Chen Pi-hsien. Frankfurt am Main. Naxos 8.550078. DDD, piano.
Año 1986: Month of April. Kenneth Gilbert. HMA 1951240 – DDD, key. Month of June. Mary Type. Paris. EMI HMV 5 86666 – DDD, piano
Year 1987: Month of November. Jean Guillou. Church of Notre-Dame des Neiges, Alpe d'Huez, France. Dorian 90110, organ. Music
Año 1988: Ton Koopman. ERATO 45326-2 DDD, key
Año 1989: Month of January: Keith Jarrett. ECM Records 839 622-2.DDD, password
Year 1990: Bob van Asperen. EMI CDC 7 54209 2, DDD, key
Year 1991: Maggie Cole. Virgin 5 61555 (2 CDs), DDD, key. Christiane Jacottet. TMI 446927-2 – DDD – with BWV 802-805. Key, without any repetitions
Year 1992: Tatyana Nikolaeva. Hyperion CDA 66589, DDD, piano
Año 1993: Rosalyn Turek. Video Artist International VAIA 1029, ADD, piano. Andrey Gavrilov. Deutsche Grammophon 435 436-2, DDD, piano. Month of October. Eleonore Buhler-Kestler. Bayreut, Germany. CHARADE; CHA 3012, DDD, key. Month of October. NES Chamber Orchestra. Hamburg, transcription of Dmitry Sitkovetsky, Nonesuch, violin and orchestra.
Year 1994: Month of June. Peter Serkin. Manhattan BMG Classics 09026 68188 2, DDD, piano. Month of June. Konstantin Lifschitz. Denon Records #78961.DDD, piano. Lifschitz was only 17 years old at the time.
Año 1999: Months: April and July. Pieter-Jan Belder. Brilliant Classics 92284. DDD, key. Month of August and September. Angela Hewitt. Henry Wood Hall, London. Hyperion Records CDA 67305, piano.