Bambance-bambancen Goldberg sun yi fice a cikin repertoire na piano na duniya a matsayin babban aikin kiɗan da bai taɓa wanzuwa ba kuma an rubuta shi. Johann Sebastian Bach sananne ne kuma sanannen mawaki a cikin tarihin kiɗan Yammacin Turai wanda ya wakilci salon kiɗan Baroque.
Menene bambancin Goldberg?
Bambancin Goldberg, BWV 988, shine sunan da aka ba wa tsarin kiɗan kida na maɓalli, wanda mai tsara baroque na asalin Jamusanci Johann Sebastian Bach ya haɗa a shekara ta 1741.
A farkonsa marubucin ya kira shi aria tare da bambancin daban-daban don harpsichord tare da maɓallan maɓalli guda biyu, wato: Aria mit verschiedenen Verænderungen vors Clavicimbal mit 2 Manuale, an tsara aikin kiɗan ne a lokacin da Bach ya zama mawaƙa a Cocin Santo Tomás. da Leipzig.
Sunan ta ya fito ne daga mawaƙin harpsichordist kuma ɗalibin Bach Johann Gottlieb Goldberg, an kiyasta cewa watakila shi ne ya fara yin ta. Hakanan, ana ɗaukarsa a matsayin ƙwararren waƙar Bach.
Bambance-bambancen na Goldberg sun bayyana a cikin tsari na gayu mai maɓalli biyu, wanda ke fassara zuwa kayan kiɗa mai maɓalli biyu, ɗayan yana saman ɗayan; watakila, kuma ana ɗaukar al'ada a cikin ayyukan da aka tsara don wasan garaya, lokacin da ɗaya daga cikin hannaye ke kunna guntun a kan ɗayan maɓallan biyu, yayin da ɗayan kuma yana kan ɗayan maballin, zama al'ada don buga garaya.
Yana da mahimmanci a haskaka cewa wannan kayan aikin madannai, -kamar sashin iska - ya kasance ruwan dare a waɗannan lokutan.
Bambance-bambancen Goldberg a cikin shirin aikin Bach: Clavier Übung
Clavier Übung, shine asalin sunan da aka ba shi, a cikin yaren Jamusanci a wancan lokacin, zuwa tarin abubuwan da aka tsara na madannai wanda Johann Sebastian Bach ya tsara, a cikin rayuwar sa, wanda ya buga cikin gutsutsutsu hudu, a lokacin 1731 zuwa 1742.
A halin yanzu bambance-bambancen Goldberg ana kiransa kalmar fili Klavierübung, da zarar an fassara shi zuwa Mutanen Espanya, tana nufin "darussan allon madannai", kuma Bach ya samu daga magajinsa Johann Kuhnau, abun da ke cikin Baroque na Jamus, da mai kunna gabobin jiki. da maɓalli. Takaitaccen bayani ne na aikinsa na nau'in madannai, wanda aka raba shi zuwa sassa hudu.
Yana yiwuwa cewa tunaninsa wanda Bach da kansa ya naɗa Liebhaber, wanda ke fassara masu nagarta kuma masu tsaurin ra'ayi sun jawo hankalin masoya, Bach ya sanya shi a matsayin fassarar wannan aikin ban mamaki, da kuma sauran ayyukansa: Denen Liebhabern zur Gemüths-Ergetzung verfertiget.
Yana da mahimmanci a haskaka cewa ɓangaren farko na sanannen Clavier Übung, an kafa shi a cikin ɓangarori shida (yanayin kiɗa na kayan aiki ɗaya) kamar BWV daga 825 zuwa 830, a cikin shekara ta 1731.
A cikin shekara ta 1735, an san su a cikin Concerto na Italiyanci, BWV 971 da Faransanci Overture, BWV 831 a matsayin sassa na biyu da na uku waɗanda aka buga a cikin shekara ta 1739, gami da ɓangaren ɓangaren BWV daga 669 zuwa 689 a cikin Jamusanci. da duets huɗu na clef BWV daga 802 zuwa 805. An buga Bambancin Goldberg a matsayin kashi na huɗu kuma na ƙarshe.
Wannan ban mamaki aiki na Goldberg Bambance-bambancen, kamar yadda ya zama na farko jerin muhimman ayyukan kida, na counterpoint, inganta fasaha da kuma m abun da ke ciki da darajar da mahada tsakanin biyu ko fiye da free muryoyin, cewa Johann Sebastian Bach, zai kama culminating nasa. sana'ar fasaha.kaɗe-kaɗe, kamar: : Kyautar kiɗa, BWV 1079, Das musikalische Opfer daga shekara ta 1747.
Hakanan ana iya gani a cikin Babban Bambance-bambance dangane da mawakan Kirsimeti “Von Himmel hoch”, BWV 769, Kanonischen Veränderungen über “Von Himmel hoch” da 1747 zuwa 1748, da kuma The Art of Fugue, BWV 1080, Die Kunst da Fuge.
Sunan da aka zaɓa Aria (babban jigo) mit verschiedenen Veraenderungen vors Clavicembal mit 2 Manualen, yana wakiltar kaɗaɗɗen maɓalli guda biyu, wanda aka sani da garaya, musamman azaman kayan aikin da ya dace don kunna shi.
Kasancewa ɗaya daga cikin dama guda uku, inda Bach ya yi sharhi cewa kayan kida ne na musamman don fassarar ayyukansa masu daraja, zuwa bugun wasan kwaikwayo na Italiyanci BWV 971 da Faransanci Overture BWV 831. Hakanan zaka iya jin dadi. Ovid's Metamorphoses
Lokacin da aka buga bambance-bambancen Goldberg a cikin 1741, wanda ke ƙunshe a cikin Littafi na IV na Clavier Übung, kawai ana kiranta da "aria mai banbance-banbance na garaya tare da littattafai guda biyu". Majestic wakilin keyboard, kazalika da mawaki Johann Gottlieb Goldberg, sunansa da aka hada a cikin aikin a 1802, daidai lokacin da Johann Nikolaus Forkel, Jamus musicologist da kuma music theorist, buga sabon biography na Bach.
Koyaya, game da taken Goldberg Bambance-bambancen, babban aikin Bach, ba ya bin tsarin da aka sani daidai. Daga irin wannan taron, an ce Johann Sebastian Bach bai taba zama mutumin da ke son bambancin kan jigon ba, kuma kamar yadda ake nuna su a halin yanzu, lura cewa a cikin dukan aikinsa akwai aiki guda ɗaya kawai na wannan salon, kamar yadda Wannan shi ne. yanayin "Italiyanci" iri-iri.
Wannan ƙwararren mawaki wanda ke da sunan Johann Sebastian Fare akan Goldbergs, mahimmin ma'ana mai zurfi, fiye da sauƙin nunawa. A cikin kasancewarta, lokacin da ta dawo daga Goldberg aria, tana wakiltar ma'ana mai girma, ganin cewa dawowar Goldbergs a ƙarshen rayuwarta dole ne a fassara shi a matsayin hasashe na dawowar ƙarshe na gaskiya, wato. haqiqanin haqiqanin mutuwarta.
An gina nau'o'in waƙoƙin Bach da dama, da na Goldberg's, kuma bisa tsarinsu, an haifar da cece-kuce tsakanin waɗanda suka yarda da waɗanda ba su fifita su ba.
Asalin da jayayya akan marubucin aria
A cikin wannan guntu na labarin, za mu yi magana game da haihuwa da kuma jayayya da cewa yana nufin marubucin waƙar, ci gaba da batun tarihin Bach, kamar yadda muka ambata a cikin sakin layi na baya, shi ne saboda Johann Nikolaus Forkel. wanda ya fallasa a ciki da wanda aka buga a cikin shekara ta 1802, bambance-bambancen sun kasance ƙarƙashin alhakin Bach, na Count Hermann Carl von Keyserlingk, jakadan Rasha a kotun Dresden.
Wanene babban marubucin Bach ya zama mai suna "Mawaƙin Kotun Saxon", yana goyan bayan mawaƙin mawaƙa na kotunsa, Johann Gottlieb Goldberg, kasancewar ƙwararren almajirin Bach, don shagala da su da dare, lokacin da adadin ya sha wahala daga. rashin barci.
Don haka ne lissafin ya amfana da Bach da karimci, ya ba shi kofi na zinariya, wanda ke da adadi mai yawa na louis d'or a ciki, kwatankwacin 500 thalers, a lokacin bene ne na shekara-shekara a matsayin kantor na Thomaskirche na Dresden. birni.
Hakazalika, Johann Nikolaus Forkel, ya tsara wani ɓangare na tarihin tarihin shekara ta 1802, bayan shekaru 60, wanda daidaitattunsa ya ba da tunani mai yawa. Wataƙila saboda rashin sadaukarwar da za a sanya a shafi na farko na aikin.
Sun ce a lokacin da aka buga aikin, Goldberg yana da shekaru 14 kawai, abin da Forkel ke kula da shi ya sa shi cikin shakku, duk da cewa Goldberg ya riga ya shahara a matsayin ƙwararrun mawaƙa, da kuma lauya mai kyau. sharuddan kiɗa.
Duk da haka, yana da kyau a lura da wannan batu cewa a cikin ɗaya daga cikin matani na yanzu, mai kunna madannai kuma mai bincike a kan Bach, Peter Williams, ya ce labarin da Forkel ya fada ba gaskiya ba ne.
Kasancewa wani batu wanda ko da yaushe yana jawo hankali ga asalin kowane batu, a cikin wannan sarari, muna so mu taƙaita kadan game da lamarin, tun da yake yana da ban sha'awa don sanin asalinsa.
Har ila yau, labarin ya nuna cewa a lokacin, Goldberg yana aiki a hidimar Count Kayserling, jakadan Rasha, kuma babban mashawarci, kuma a wata hanya mai kare Bach. Don haka lissafin mutum ne wanda ba ya iya barci, kuma yakan kira gaban mawaƙinsa, don daga ɗakin da yake kusa da shi, ya yi wasa, yana jin daɗin kiɗansa a cikin dare.
Hakazalika, ya ce a cikin tarihinsa cewa a daya daga cikin tafiye-tafiyensa zuwa Leipzig, Count Kayserling ya ba da shawara ga Bach, wanda zai sadaukar da kansa don rubuta waƙoƙin kiɗa wanda a cikin abubuwan da ke cikin su zai nuna abubuwa masu dadi da farin ciki a lokaci guda, hakan zai kasance. na musamman don nishadantarwa da nishadantarwa.
A lokacin ne, lokacin da Bach, ya fi son a matsayin waƙar sarabande da aka rubuta shekaru da yawa da suka wuce kuma an kiyaye shi a cikin littafin rubutu na Ana Magdalena, kuma ya kara da bambance-bambancen talatin, ya bar ƙididdiga ta sha'awar "bambantanta". Don haka ne ya ba wa mawaƙin da wani kwafin da aka lulluɓe da zinariya da louis d’or ɗari.
Marubucin aria
Dangane da wannan al’amari kuwa, dangane da marubucin waƙar, ko da yaushe akwai gaskiyar tambaya, inda wasu ke jayayya cewa ya dogara da ainihin bambance-bambancen Bach da kansa cewa, rashin hakan, ba sa daidaitawa, wanda ya saba wa da yawa. nassosi na salo ko furuci na harshe, tare da filaye da suka ginu bisa bincike da nazarin madogara, da kuma ranar da aka rubuta.
Mai binciken a kan lamarin kuma masanin kida na kasar Japan, Yo Tomita, ya ci gaba da cewa, duk da cewa an kwafi wakar a rubutu na II na karamin littafin Anna Magdalena Bach, cewa an rubuta shi a cikin rubutun hannunsa, ba tare da barin sunan mawakin ko take ba. yanki, na iya nuna cewa watakila marubucin aikin ba a san sunansa ba.
Game da wannan jigon, an faɗi da yawa, kamar yadda Yo Tomita ya nuna, saboda gaskiyar cewa aria a cikin bass, ko watakila sashin farko nasa, jigo ne na kowa, wanda zan iya bambanta misalai da yawa da ke kunshe a cikin repertoire. na karni na XNUMX.
Yayin da wasu masana da masu bincike kan wannan batu ke tabbatar da cewa Bach ya takaita ne kawai wajen aron wasu ra'ayoyinsa tun yana karami domin wakarsa. A sa'i daya kuma, sauran masana, irin su masanin kida na Jamus Arnold Schering, sun tabbatar da cewa sun dogara ne a kan tsattsauran ra'ayi, kuma sun bayyana cewa shirin daidaitawa da ingantawa ba na asali ba ne ga Bach.
Yayin da marubuci kuma lauya dan kasar Jamus Franz Leopold Neumann ke kare ka'idar rashin marubucin Bach, yayin da Robert Marshall, dan kasuwa kuma dan siyasa, ke kare marubucin Bach, sun yi nisa har suka fuskanci al'umma da ra'ayoyinsu.
Duk da haka, Yo Tomita ya kammala da cewa a fili ra'ayin da Marshall ya bayyana ya yi nasara saboda maganganun rubutun Anna Magdalena, kimanin kwanan watan 1740, yana da inganci fiye da waɗanda abokin hamayyarsa ya nuna. Ta yadda za a iya tabbatar da cewa Magdalena ta rubuta waƙar wasu daga cikin rubuce-rubucen Bach, ana zaton cewa ma'aikaci zai iya amfani da shi don yin rikodin.
Duk waɗannan ra'ayoyin, da kuma waɗanda masanin kida da farfesa na Jami'ar Harvard, Christoph Wolff, suka faɗa, daga taƙaitaccen majiyoyin, da alama sun zarce shawarwarin da aka yi a baya bisa nazarin salo.
Hakanan, masanin tarihi da masanin kida David Schulenberg ya jaddada cewa waƙar ba ta da salon Italiyanci ko Faransanci, a fili abin da ke da salon kotu na Jamus kawai, da wasu nassoshi waɗanda ke jagorantar shi ya nuna a cikin marubucin Bach, musamman ma kyakkyawan canji na rhythm tare da bayanin kula waɗanda ke gudana da ƙarfi akan bayanin ƙarshe na ƙarshe.
Turanci
Buga na Goldberg Variations ya faru a shekara ta 1741, a wannan shekarar da aka shirya su, ko kuma ya kasance a cikin shekara ta 1742, yayin da mahaliccinsu yana raye, wanda ba al'ada ba ne. Editan da ke kula da aikin shine editan mai suna Balthasar Schmid, daga Nuremberg, wanda Bach ya kasance da abota mai kyau.
Mawallafin Schmid ya zo buga aikin, ta hanyar zane-zane a kan faranti na musamman a cikin kayan tagulla, kodayake abu mafi kyau shi ne cewa zai yi amfani da nau'ikan motsi; Schmid da kansa ne ya rubuta jimlolin bugu na farko. Ana iya gani a cikin bugun cewa abubuwan da ke cikin sa suna da kurakurai da yawa.
Ana iya yin shaida akan murfin aikin, haruffan Jamus waɗanda ke cewa: Clavier Ubung, bestehend, in einer ARIA, mit verschiedenen Veraenderungen, vors Clavicimbal, mit 2 Manualen.
Denen Liebhabern zur Gemüths, Ergetzung verfertiget von. Johann Sebastian Bach. Konigli Pohl. Curf. Saechs. Hoff. Mawaƙin, Capellmeister. Darakta. Chori Musici in Leipzig. Nürnberg in Verlegung. Balthasar Schmids, wanda ke nufin a cikin Mutanen Espanya masu biyowa: “Ayyukan motsa jiki na madannai, wanda ya ƙunshi ARIA tare da bambance-bambancen maɓalli da yawa tare da madannai biyu.
An tsara shi don masu ba da labari, don jin daɗin ruhinsu, na Johann Sebastian Bach, mawallafin kotun sarauta na Poland da kotun zaɓe na Saxony, Kapellmeister da Daraktan Choral Music a Leipzig. Nuremberg, Balthasar Schmid, edita.
Daga cikin wannan muhimmin rubutu, akwai ƙaramin adadin kwafi goma sha tara na wannan bugu na farko, waɗanda aka adana a rukunin gidajen tarihi da kuma cikin tarin matani waɗanda aka ware a matsayin baƙon abu.
Daga cikin duk waɗannan kwafin, wanda ya fi daraja, saboda yana da wasu gyare-gyare da ƙari da mawallafin da kansa ya yi, inda za ku iya ganin wani karin bayani inda aka rubuta dokoki goma sha huɗu BWV 1087, wanda aka ajiye a cikin National Library na Faransa , Paris.
Kwafi da aka ambata a baya su ne kawai abubuwan da masu shela dabam-dabam na zamani za su yi amfani da su, waɗanda suke ƙoƙari su kasance da aminci ga manufar Bach. Koyaya, ana kiyaye cewa an adana ainihin asali da cikakken makin na tsawon lokaci, don haka bai daɗe ba. Yayin da aka sami ɗaya daga cikin kwafin waƙoƙin da aka rubuta a cikin kwafin 1725 a cikin littafin rubutu na matar Bach ta biyu, mai suna Anna Magdalena.
Masanin kide-kide kuma farfesa Christoph Wolff ya yi la'akari da cewa Anna Magdalena ta ɗauki aikin kwafin waƙar daga makin da aka rubuta kusan daga shekara ta 1740, wanda ya bayyana a kan shafuka biyu marasa tushe waɗanda ke cikin littafin rubutu.
siffa da tsari
Bambancin Goldberg ya ƙunshi jigo na musamman, wanda ake kira aria, wanda ya ƙunshi bambance-bambance talatin da kuma maye gurbin aria ko aria da capo, wanda ke nufin wani nau'in aria na kiɗan baroque wanda ke da nau'i na ternary, a cikin sassa uku.
Haƙiƙa, abin da ya haɗa su a cikin dukkan sassansu ba don waƙar gama-gari ba ne, a’a, saboda asalin bambance-bambancen jituwa a cikin layin bass. Yana da mahimmanci a lura cewa waƙoƙin yawanci suna canzawa, duk da haka, yana cikin jigon dindindin.
Taken a cikin layin bass
Babban jigo na aikin, Goldberg Variations, ya bayyana a cikin tsawon shirye-shirye talatin da biyu a cikin layin bass ostinato na aria, wanda shine adadi wanda aka maimaita sau da yawa a cikin wani kiɗa, kuma shirye-shiryensa takwas na farko sun kasance. daidai suke da na jigon Chaconne tare da bambance-bambancen sittin da biyu a cikin G manyan, na Handel's HWV 442, kamar yadda Christoph Wolff ya fada.
Georg Friedrich Haendel, mawaƙin Jamusanci, ya shirya wakokinsa na Chaconne na Mutanen Espanya, tsakanin shekarun 1703 zuwa 1706, wanda mawallafin Witvogel ya buga, a birnin Amsterdam a shekara ta 1732, sannan a shekara ta 1733 a Landan, ya kafa sashi. na abin da ake kira Suites de Pièces pour le harpsichord.
Da yake Witvogel ya shahara da yin amfani da Bach a matsayin mai rarraba ayyukan fitaccen mawaki kuma organist, Bajamushe-Yaren mutanen Holland Conrad Friedrich Hurlebusch, bisa ga bayanin da aka samu a shekarun 1735-1736 daga Compositioni musicali per il Cembalo de Hurlebusch, wanda za a iya samu daga "Kapellmeister Bach na St. Thomas School a Leipzig".
Don haka ya kamata Bach ya san abin da Haendel's chaconne yake, ko dai ta hanyar fitowar Amsterdam ta 1732, ko kuma ta hanyar bugu na London na 1733, saboda Bach ya gama yin shirye-shiryensa na bambancin a cikin shekara ta 1741.
Bach dole ne ya kasance faɗakarwa ga sauƙaƙan ƙa'ida mai sassa biyu waɗanda ke goyan bayan bambancin chaconne na Handel. Bugu da ƙari, abin da ya gani daga tsarin ostinato wanda ya ƙunshi bayanin kula guda takwas, wanda Haendel ya yi amfani da su a matsayin babban jigon da zai motsa Bach, ƙarfin haɗin gwiwa mai rikitarwa wanda aka bayyana a cikin tarihin mutuwarsa wanda aka sanar da su a kasa:
Ya kamata kawai ya ji wani jigo don sani - tabbas a wannan lokacin - na kusan duk wani hadadden da fasaha zai iya haifarwa daga maganinta.
A cikin binciken Bach, ya sami babban yuwuwar dacewa dangane da bayanin kula guda takwas, wanda hakan ya haifar da jerin Canons goma sha huɗu BWV 1807, wanda daga baya aka saka shi cikin rubutun Clavier Übung IV na kansa.
Don ci gaban sake zagayowar Bach bambance-bambancen, ya yanke shawarar kada ya daidaita zuwa matsananciyar bayanin kula guda takwas, ko kuma ilimin tilastawa na cikakken ƙwararrun aiki. Ta wannan hanyar, ya haɓaka bass na ostinato, ta hanyar wakilci mai kyau, yana yin ƙara sau huɗu, don ya ba da ƙarfin ƙarfafawa cikin jituwa da waƙar waƙa, wanda ya kasance mai ban sha'awa da basirar hankali na bass, wanda ke fassara. ingantaccen tsari wanda ya ƙunshi zagayowar bambance-bambancen.
Wasu mawallafa sun kwatanta aikin kiɗan a matsayin passacaglia, wanda ke nufin nau'in kiɗa na asalin Mutanen Espanya, yayin da wasu suna la'akari da shi a matsayin chaconne, duk da haka, ana iya bambanta shi a cikin wadannan: jigon chaconne gabaɗaya yana faɗaɗa a cikin sanduna huɗu kawai, yayin da Aria ta faɗaɗa zuwa manyan sassa guda biyu waɗanda aka jera a sanduna, kowanne tare da maimaitawa.
Bach, wanda ke aiki a matsayin mawallafin passacaglias, yana nutsewa cikin babban aikin da ya ƙunshi Sweelinck, Scheidt, Froberger da Purcell, pre-Bach da abokansa Johann Caspar Ferdinand Fischer, da kuma kawunsa Johann Christoph Bach.; wasu daga cikinsu ma sun yi amfani da bambance-bambance a kan bass, mai kama da na Bach a cikin abun da ke ciki.
Yana da kyau a faɗi cewa Bach yana ɗaga bambance-bambancen zuwa matsananciyar matakin, cewa ayyukan da suka biyo baya kawai sun cancanci kwatankwacinsu, kamar Beethoven's Diabelli Variations.
Bambance-bambance akan aikin Bach
Bambance-bambancen Goldberg, yana da kyau a nuna, cewa Bach bai sadaukar da kansa ba don ƙirƙirar adadi na ayyuka a cikin nau'in aria tare da bambance-bambancen, haka ma, ana iya kwatanta shi kawai azaman ɗayansu, Aria variata alla maniera Italiana BWV. 989, wanda ya shirya shi a Weimar a cikin shekara ta 1709.
Gaskiyar ita ce, Bambancin Goldberg bai kamata a tsara shi tare da wannan aikin ba, kamar yadda ake iya gani a cikin bambance-bambancen melodic, kasancewar ayyuka biyu na babban sanarwa, irin su Passacaglia don sashin jiki BWV 582, da kuma Chaconne a cikin D. ƙananan na wasan solo violin mai lamba 2 BWV 1004.
Yana yiwuwa Bach yana da ɗan damuwa da adawa da salon kiɗa na bambance-bambancen, tun da yawancin mashahuran magabata da masu suna a zamaninsu sun ba da misalai masu girma waɗanda suka ba su babban tunawa.
Bach wani hali ne wanda bai taɓa sha'awar samun nasara cikin sauƙi ba, wanda aka saita a matsayin makasudin ƙoƙarin ɗaukaka nau'in gabaɗaya tare da yanayin sadarwa na bambance-bambancen a babban fasaha kuma a lokaci guda matakin ruhaniya wanda ba a san shi ba. lokaci..
Tsarin ciki na aikin
Roswitha Borsche yana kula da cewa an tsara aikin bisa ga ka'idodin fasaha na baroque. Ana iya ganin shi a cikin bambance-bambancen na goma sha shida, wanda aka tsara ta hanyar salon wasan kwaikwayo na Faransanci, watakila saboda ƙaddamar da shi kadan, wanda ya kasance na farkon sashe na tserewa na gaba, ba da gaske ba, zuwa rabi na gaba na jigo a cikin bass, wanda ke yin la'akari da ƙaddamar da abubuwa biyu na aikin.
Bayan nuna aria, a farkon wasan kiɗa, ana samar da bambance-bambancen talatin. A cikin kowane bambance-bambancen guda uku, na jerin talatin, ana nuna ƙa'ida ta bin babban tsari. Don haka, a cikin bambance-bambancen na uku akwai ka'ida ga maɗaukaki, na shida yana nufin daga ka'ida ɗaya zuwa na biyu, wanda ke farawa a tazarar na biyu akan shigarwa ta farko; yayin da bambamcin na tara ka’ida ce ta uku, kuma ta haka ne za mu kai ga bambamci na 27, wanda ke nuni da ka’idar ta tara.
A cikin bambance-bambancen ƙarshe, maimakon ƙa'ida kamar yadda ake tsammani, tana nufin qudlibet, wanda ke fassara nau'in kiɗan da ke haɗa waƙoƙi a cikin ma'ana, galibi shahararrun jigogi.
Hakanan za'a iya gani, a cikin bambance-bambancen 10, Fughetta da 22, tsarin kiɗa, Alla, ɗan gajeren lokaci wanda aka sanya shi a cikin manyan wurare na musamman a cikin tsarin ma'auni, amma, tare da nisa na bambance-bambancen shida, dangane da bambancin 16 tsakiya. , wanda ke samar da axis, Overture, wanda ke nufin budewa, shine gabatarwar kayan aiki na wani aiki mai ban mamaki, na kiɗa ko a'a, wanda ke nuna wani ɓoyayyiyar ɓoyayyiyar tsari mai girma ga sassan.
Haka kuma, an lura cewa mawaƙa Ralph Kirkpatrick ya jaddada bambance-bambancen Goldberg, a cikin ƙa'idodin da suka dace daidai da samfurin.
Idan aka nisanci manyan abubuwan a farkon da kuma a karshe, daidai a cikin aria, bambance-bambancen guda biyu na farko, su ne: quodlibet da aria da capo, sauran abubuwan an karkasa su kamar haka: bambance-bambancen da suke. An sanya biye bayan kowace ka'ida, akwai nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan nau'ikan ma'auni ma'auni ne da aka sanya su, waɗanda za'a iya ba da fifikon raye-rayen baroque guda uku, (4,7 da 9); gishiri (10); Ƙwararren Faransanci (16), da arias ƙawance guda biyu waɗanda aka sanya su a hannun dama (13 da 25).
Sauran da suka bayyana a wuri na biyu, bayan kowace ka'ida (5, 8, 11, 14, 17, 20, 23, 26 da 29) su ne waɗanda ke magana akan Kirkpatrick, wanda ake kira "arabesques" wato: bambance-bambance a cikin sararin rayuwa tare da isa. ketare hannaye. Wannan samfurin ternary: canon, rawa jinsi da "arabesque", ana amfani da jimlar sau tara a jere, har sai quodlibet ya wargaje da'irar.
Da zarar an kammala bambance-bambancen talatin, Bach ya kula da cewa Aria da Capo è lafiya, wanda ke fassara cewa mai fassara dole ne ya fara da farkon (da Capo) kuma ya fara da fassarar aria kafin ya ƙare.
Wolff yana kula da ra'ayin cewa Bach ya haɗu da ƙungiyoyi na canonical a cikin tsari mai tsari, amma a cikin mafi yawan tsare-tsaren, don bayyana matakin fahimtar wanda ke fassara, yayin da wanda ke sauraren canonical counterpoint, da kuma wadanda ba - Canonical counterpoint, nuni mai dizzying na ƙaƙƙarfan ƙirarsa da kyawawan dabi'unsa bai kamata a rabu ba.
Don haka daga haɗin haɗin Kirkpatrick, Wolff da Dahler ana iya ɗaukar bambance-bambancen kamar haka:
- Rawar Salon: Bambancin 1 (Rawar baroque: courante). Arabesques: Bambanci 2. Canons: Bambance-bambancen 3 (canon unison)
- Rawar Salon: Bambancin 4 (Rawar baroque: passepied). Larabci: Bambanci 5 (arabesques). Canons: Bambanci 6 (canon zuwa na biyu)
- Rawar Salon: Bambancin 7 (Rawar baroque: jig ko Sicilian). Larabci: Bambanci 8 (arabesques). Canons: Bambancin 9 (canon zuwa na huɗu)
- Rawar Salon: Bambancin 10 (fugeta). Larabci: Bambanci 11 (arabesques). Canons: Bambancin 12 (canon zuwa na huɗu)
- Rawar Salon: Bambancin 13 (aria don hannun dama). Larabci: Bambanci 14 (arabesques). Canons: Bambanci 15, (canon zuwa na biyar)
- raye-rayen Salon: Bambance-bambance 16 (Tsarin Faransanci). Larabci: Bambanci 17 (arabesques). Canons: Bambancin 18 (canon zuwa na shida)
- raye-rayen iri: Bambanci 19. Arabesques: Bambancin 20 (arabesque). Canons: Bambanci 21 (canon zuwa na bakwai)
- Rawar Salon: Bambancin 22. Larabci: Bambanci 23 (arabesques). Canons: Bambancin 24 (canon zuwa na takwas)
- Rawar Salon: Bambancin 25. (aria don hannun dama). Larabci: Bambanci 26 (arabesques). Canons: Bambanci 27 (canon zuwa na tara)
- raye-rayen iri: Bambanci 28. Arabesques: Bambancin 29 (arabesque). Canons: Bambanci 30 (quodlibet)
Bach Goldberg Bambance-bambance
Wannan ɓangaren labarin zai kwatanta aria da bambancin Goldberg, bisa ga ra'ayoyin da masu yin wasan kwaikwayo da mawaƙa daban-daban suka gabatar. Ya kamata a yi la'akari da cewa an samo su ne daga wurare daban-daban kuma sun kasance tare a cikin nau'i daban-daban na yadda ya kamata a magance tafsirin su, amma yana da kyau a san cewa ba duka ba ne ya zo a cikin sakin layi na gaba.
An shirya aikin kaɗe-kaɗe don maƙarƙashiyar garaya mai madannai biyu ko kuma littattafai. Ana iya ganin bambance-bambancen masu zuwa a cikin maki: 8, 11, 13, 14, 17, 20, 23, 25, 26, 27 da 28, waɗanda dole ne a fassara su da littattafai guda biyu, idan dai bambancin: 5, 7 da 29, ana iya yin shi da madannai ɗaya ko biyu.
Koyaya, tare da rikitarwa mai yawa, ana iya aiwatar da aikin kiɗan, har ila yau ta hanyar maɗaurin garaya mai hannu guda ɗaya ko, rashin haka, tare da piano. Ya kamata a lura cewa gaba ɗaya duk bambance-bambancen suna nunawa a cikin inuwar G manyan, ban da bambance-bambancen: 15, 21 da 25, waɗanda aka rubuta a cikin sautin ƙaramar G.
An jera bambance-bambancen Goldberg cikin abubuwa guda biyu, wanda ke nufin, saitin A, wanda saitin B ya biyo baya, kasancewar gabaɗaya a cikin daidaitawar mai fassarar, a cikin yanayin da ya sake maimaita shi ko a'a, ko dai daga cikin biyun, ko kuma ma. ba zai iya yin shi da kowane saiti ba.
Dan wasan piano ɗan ƙasar Hungary András Schiff ya sa Bach ya nuna wa mai wasan cewa dole ne ya sake buga kowane saiti ko sashe, wanda sakamakon rashin bin wannan zai lalata kyakkyawan yanayin aikin kiɗan da ƙimarsa: "babbar kida ba ta da tsayi, abin da ya yi gajere shi ne hakurin wasu masu saurare"
Yawancin Bambance-bambancen Goldberg sun ƙunshi sanduna talatin da biyu, waɗanda kuma an raba su zuwa sassan mashaya sha shida waɗanda dole ne a buga su sau ɗaya. Duk da haka, ba a haɗa waɗannan bambance-bambancen ba: 3, 9, 21 da 30, saboda sun ƙunshi sassa biyu na mashaya takwas, kowannensu dole ne a buga shi sau ɗaya; da kuma bambancin 16 wanda ya ƙunshi kashi na farko na sanduna goma sha shida, da kuma wani sashi na biyu tare da sanduna 32, wanda dole ne a sake maimaita kowane a cikin sassan biyu.
Sunan da aka sanya wa kowane bambance-bambancen, wanda aka gabatar a cikin ci gaba, yana daidai da wanda aka yi amfani da shi a cikin bugu na Bach-Gesellschaft, wanda ke nufin al'ummar da aka halicce a 1850, wanda daga nan , tarawa, gyarawa da kuma buga duka. shahararrun ayyukan Bach.
Ƙungiyar Bach-Gesellschaft, don cika manufarta, ta kasance a cikin wani aiki mai wuyar gaske na tarawa da kammalawa, fiye da shekaru hamsin, don yin yiwuwar tarin farko wanda ya cika. Daga cikin su, an bar su kamar yadda suke, tare da girmama alamomin rubutu, abubuwan da ke cikin manyan haruffa da ƙananan haruffa, da kuma taƙaitaccen Bach-Gesellschaft, sai dai wasu da aka samo a cikin wani muhimmin rubutun, wanda ya kasance. An ɗauke shi daga bugu da aka buga, ta Bach da kansa, waɗanda aka haskaka a cikin maƙallan murabba'i.
Aria
Lokacin magana akan kalmar Aria, yana nufin yanki na kiɗa, wanda ke ba da jigon jigo don bambance-bambancen Goldberg. Kamar yadda lamarin yake tare da wakilin baroque "aria tare da bambancin". Bambance-bambancen suna dogara ne akan waƙoƙin buɗewar aria, duk da haka, a cikin wannan yanayin shine layin a cikin bass, kawai jituwa da ke haifar da shi, wanda zai yi aiki azaman babban tushe na bambance-bambancen.
Aria na Goldberg Variations shine sarabande a cikin ¾ lokaci, wanda ya ƙunshi ƙungiyoyi biyu ko sassan ma'auni goma sha shida kowanne, kuma yawanci yana nan yayin aikin, sai dai a cikin bambance-bambancen: 3, 9, 21 da 30, inda an rage adadin tsararraki. Yana da mahimmanci a lura cewa aria, da kuma bambance-bambance a kowane saiti ko sashe, dole ne a buga sau ɗaya.
Bambance-bambancen Goldberg: 2, 4, 6, 16, da 25, suna sanya ƙarewa daban-daban don wasan farko da na biyu na kowane sashe. Aria waƙa ce da aka yi mata ado sosai. Aria a cikin salon Faransanci na al'ada ne don kyan gani da kyau don haskaka waƙar. Akwai wasu masu fassara waɗanda suka yanke shawarar ba za su nuna kayan ado ba ko wani ɓangare ko gaba ɗaya, don haka watakila mafi kyawun fasalin shine wanda yayi daidai da na Wilhelm Kempff, akan piano.
Duk da haka, Peter Williams, sanannen masanin kida, ya tabbatar da cewa gaskiyar ita ce jigon bambance-bambancen ba ya taso daga aria, akasin haka, ya fito ne daga jigon bambancin farko. Wannan ra'ayi yana tabbatarwa ta hanyar kiyaye cewa aikin yana nufin chaconne, maimakon aikin da ke ci gaba da siffan aria na gaskiya tare da bambancin.
Sa'an nan, an nuna aria a matsayin sarabande, wanda aka sake sake shi ta hanyar da ta dace, ga abin da aka rubuta a cikin littafin rubutu na biyu na Anna Magdalena, kasancewar Bach na biyu na mata wanda ya jagoranci tattara muhawara a cikin shekara ta 1725. Saboda kamanceceniya. Waƙoƙin Anna Magdalena a wancan lokacin, ana ɗauka cewa ta rubuta aria don shekara ta 1740.
Kuna iya ganin ainihin sautin G babba, a ƙarshen saitin farko ko sashin jigon jigon da aka saba a cikin rhythm wanda ke daidaita rinjayen D, sannan, ta hanyar sautin E ƙarami, ƙaramin ƙaramin G, aikin. ya koma a ƙarshen jigon zuwa tonic.
A gaba, za mu yi magana ne game da bambance-bambancen daban-daban waɗanda ke nuna alamar aria, wato:
Bambancin 1 zuwa 1 Clav. Bambancin 1: Minti 9:25
Wannan 1 zuwa 1 Clav variatio yana da kyau, bambancin jin daɗi da aka buga a cikin ¾ lokaci wanda ke fitar da sautin laushi, mai mafarki na aria. Ƙwaƙwalwar ƙira ta fito tare da motsi tsakanin sanduna 1 da 7, ta hanyar sanya hannun dama zuwa lafazin a bugun na biyu.
Matsayin hannaye suna haɗuwa a cikin ma'auni 13, a lokacin yin rajistar babba zuwa ƙananan, mayar da daidaitawa a cikin wasu matakan biyu. Bisa ga ra'ayin da Dahler ya bayyana, ana iya fahimtar bambancin a matsayin rawa mai kama da courante, wanda ke nufin motsi na rawa na baroque a cikin sau uku.
A lokacin ma'auni biyu na farko na kashi na biyu, rhythm yana haifar da na kashi na farko, duk da haka, nan da nan an shigar da wani ra'ayi na daban. Kwararrun masanan kiɗan Williams da Dahler sun tabbatar da cewa wannan ra'ayin yana ba da bambance-bambancen polonaise halo, nau'in kiɗan tare da matsakaicin motsi da motsi na ternary.
Ƙwaƙwalwar kansa ta fito daga amfani da hannun hagu, kamar yadda Bach ya yi amfani da shi a cikin Partita don kunna violin solo number 3 na guntun sa da kuma tsarin kiɗan da aka yi amfani da shi don solo violin BWV 1001-1006, kuma a cikin shigarwa a cikin babban bayanin rubutu na farko. daga Ƙwallon Ƙwallon Ƙwaƙwalwa mai kyau.
Yawancin karatu a cikin fasahar kiɗa, suna kula da cewa jigon da ke magana akan layin bass na wannan bambance-bambancen a cikin abun ciki ya dogara ne akan sauran bambance-bambancen, kuma ba daidai ba akan na aria.
Bambance-bambancen 2 zuwa 1 Clav. Bambanci 2. Minti 10:35
A cikin sassauƙar kida mai sauƙi, wanda aka ɗauka cikin sassa biyu cikin lokaci 2/4. Layuka biyu suna haɗuwa a cikin wani aiki na dindindin na sha'awar su a cikin abun ciki na ci gaba da waƙar da ke cikin bass. Wani yanki ne mai kama da canon. A cikin kowane ɓangaren yana nuna ƙarewa daban-daban don haifuwa na farko da na biyu.
Bambance-bambance 3. Canone all'Unisono. A 1 Clav. Bambance-bambance 3. Canon gaba ɗaya: Minti 11:25
Yana nufin farkon na Goldberg Variations, a cikin cikakkiyar sigar canon, ko motsi na fasaha, a cikin wannan takamaiman yanayin ƙayyadaddun ƙayyadaddun waƙar: waƙar da ke farawa daidai akan bayanin da ya gabata. Kamar yadda a cikin duk sauran canons na Goldberg Variations, sai dai a cikin yanayin bambancin 27, Canone alla nona, layin bass wanda ke ci gaba da kasancewa a ko'ina cikin bambancin.
Alamar 1/8 lokaci da kuma amfani da tresillo, wanda ke nufin ƙungiyar ƙima ta musamman da aka kafa ta hanyar adadi guda uku, yana nuna wani nau'i na raguwar rawa. Yawancin masu yin wasan kwaikwayo yawanci suna wasa da shi a cikin matsakaicin lokaci, duk da haka, wasu sun zaɓi su kunna shi da laushi, kamar mawaƙin Jamus Hans Pischner ko Charles Rosen akan piano.
Bambancin 4 zuwa 1 Clav. Bambancin 4: Minti 12:55
Kamar yadda yake tare da passepied, motsi ne tare da salon rawa na baroque, bambancin ne wanda aka kama cikin lokaci 3/8 inda rhythms a cikin bayanin kula na takwas suka mamaye. Ya kamata a lura, a cikin wannan girmamawa, cewa Bach yana amfani da irin wannan kwaikwaya, duk da haka, ba daidai ba ne: samfurin kiɗa na wani ɓangaren ya sake bayyana daga baya a cikin mashaya a wani sashi, wani lokaci ya canza.
Ana iya ganin kowane saiti ko sashe yawanci yana ƙarewa ta wata hanya dabam a cikin haifuwa na biyu. Kasancewa lamarin kwayar halitta Kate Van Tricht, ta fassara wannan bambancin cikin sauri.
Bambance-bambancen 5 zuwa 1 overo 2 Clav. Bambanci 5. Minti 13:45
Wannan shine farkon na Goldberg Variations, a sassa biyu, wanda aka yi tare da dunƙule hannaye. Ana nuna shi a cikin ¾ lokaci. Layi mai sauri ce da aka bayyana galibi a cikin rubutu na goma sha shida, wanda ke kusa da wani waƙar, tare da tsawon bayanin kula, wanda ke haifar da tsalle-tsalle masu yawa.
Ana amfani da irin wannan nau'i na Goldberg Variations, a cikin sanannun "style Italiyanci" na ketare hannun: daya hannun yana motsawa perennially daga dama zuwa hagu, tsakanin manyan sauti da ƙananan sauti, wanda ya wuce daya a daya hannun, yayin da yake dadewa a cikin tsakiyar madannai yana kunna mafi yawan sautunan dizzing.
Yawancin masu yin wasan kwaikwayon suna taka wannan bambancin da sauri, wanda dole ne ya tabbatar da daidaito mai girma. Lallai nau'ikan Glenn Gould, lokacin da suke piano, suna cikin mafi sauri, daƙiƙa 35 masu ɗorewa ba tare da sake kunnawa ba. Amma, ya kamata a ambata cewa wasu masu fassara, kasancewa na rukuni irin su Kenneth Gilbert a mawaƙa, suna yin ta cikin sauƙi da annashuwa.
Bambanci 6. Canone alla Seconda a 1 Clav. Bambanci 6. Canon zuwa Minti na biyu 14:20
Wannan shi ne na shida na bambance-bambancen Goldberg, yana da canon zuwa na biyu: mai canzawa yana farawa tare da babban hutu na biyu, tare da fiti mafi girma fiye da abin da aka tsara. Yankin ya dogara ne akan sikelin lalacewa a cikin lokaci 3/8.
Kirkpatrick ya kwatanta wannan yanki kamar yadda ake tuhumarsa da "kusan tausasawa". Ana iya ganin shi a cikin kowane ɓangaren, yana da ƙarewa daban-daban ga kowane ɗayan abubuwan da aka haifuwa guda biyu.
Bambance-bambancen 7 zuwa 1 overo 2 Clav. A lokacin Giga. Bambanci 7. Minti 15:00
Wannan bambance-bambance a kan kansa haifuwa na Goldberg Variations, Bach, ya rubuta cewa ana yin wannan rawa a cikin 6 / 8 lokaci, kuma an ba da shawarar a yi a lokacin di Giga, yana bayyana cewa jig wani rawa ne mai basira da kuzari.
Saboda ba a sanya haifuwar Bach a cikin wani kamfani na Faransanci mai zaman kansa har zuwa 1974, ana aiwatar da sigogin kafin wannan bambance-bambancen, ta hanyar jin daɗi, sau da yawa azaman loure ko Sicilian.
Duk da haka, ana iya nuna cewa akwai fassarori bayan 1974, kasancewa rikodin Glenn Gould, Wilhelm Kempff da Angela Hewitt, da sauransu da yawa waɗanda ke ci gaba da aiki a hankali, watakila saboda yana da wuya a yi watsi da hanyar fassarar da aka saba. , cewa fiye da ƙarni biyu, ko kuma kamar yadda masanin maballin keyboard da mai fassara, sanannen David Schulenberg, ya bayyana, game da ƙaddamar da rajistar Bach, "wanda ya ba da mamaki ga masu sukar na karni na XNUMX, wanda ya nuna cewa jigs suna aiki da sauri. da ephemeral.
Ga abin da suka bayyana, cewa, "duk da kalmomin Italiyanci "giga" yana nufin "Giga Faransanci", wanda yawanci ya fi dacewa, to, Schulenberg ya jaddada cewa tsarin tsarin da ake ciki a cikin wannan bambancin yana kama da na jig. na na biyu na bayanin kula na Faransa, ko jig na Overture a cikin salonsa na Faransanci, BWV 831, yana nunawa a cikin layin bass da kuma waƙar da aka ƙawata.
Don kammalawa, Schulenberg ya ci gaba da cewa "ba lallai ba ne a yi sauri" kuma ya kara da cewa "yawan gajerun hanyoyi da appoggiaturas suna hana yin yawa cikin lokaci". Hakazalika, 'yar wasan pian Angela Hewitt, ta bayyana cewa Bach yana ƙoƙarin yin gargaɗi game da amincewa da saurin gudu, don canza raye-rayen zuwa nau'i na forlane ko Sicilian, wanda ya yarda da Schulenberg, wanda ke nufin "Giga Faransanci", amma. ba zuwa wani "Giga Italiyanci", wanda ya fassara a sakamakon dan kadan kara sauri.
Bambance-bambancen 8 zuwa 2 Clav. Minti 16:20
A cikin waɗannan Bambance-bambancen Goldberg, ya sake bayyana a sassa biyu tare da haɗe-haɗe, a cikin 3/8 lokaci. Tare da salon Faransanci, wanda aka yi amfani da shi a cikin wannan damar don haye hannaye: sassan biyu suna wasa a cikin sarari guda a kan maballin, ɗayan yana sama da ɗayan. Ba yawanci wahala ba ne don yin gaya mai hannu biyu, duk da haka, yana da wuya a yi wasa da kayan kifin piano.
Yawancin ma'auni suna nuna kyakkyawan tsari da aka yi da rubutu na goma sha ɗaya na sha shida, da kuma tsayawa na goma sha shida a kusa da shi, ko bayanin kula goma sha shida da na takwas. Ana iya gani cikin sauƙi cewa akwai tsalle-tsalle masu girma a cikin waƙar, kamar yadda yake a cikin sanduna 9 zuwa 11: tsalle na octaves biyu, godiya daga ƙananan B, tsakiyar C, a mashaya 9, da tsakiyar C zuwa tsakiya. daya na takwas, wanda yake da girma a mashaya 10.
Hakanan ana iya ganin shi daga G sama da tsakiyar C, zuwa G octave mafi girma a ma'auni 11. Sassan biyu sun ƙare tare da raguwar sassa a cikin bayanin kula na XNUMX, wanda ke nufin bayanin kida mai tsawon lokaci daidai da rabin bayanin sha shida.
Bambanci 9. Canone alla Terza a 1 Clav. Canon zuwa na uku: Minti 17:15
Wannan bambancin yana nufin canon zuwa na uku a cikin lokaci 4/4. Layin bass yana da kuzari fiye da canons na baya. Bambanci ne mai ɗan gajeren lokaci, sanduna goma sha shida kacal a cikin abun ciki, yawanci ana wasa da sauri.
Bambanci 10. Fughetta zuwa 1 Clav. Minti 18:15
Bambance-bambancen na goma ne, kasancewar ƙaramin fugue don muryoyi huɗu, yana nuna alla breve, tare da jigon da aka nuna a cikin sanduna huɗu, ƙawata da ko ta yaya ke haifar da waƙar aria a farkon. Yawancin masu wasan kwaikwayo suna watsi da wasu kayan ado, irin su Charles Rosen a piano; da Christiane Jackettet a cikin garaya. Ko da yake wasu, irin su Keith Jarrett a kan harpsichord, suna ƙara ƙarin kayan ado.
Bayyana gabaɗayan sashe na farko na wannan bambancin; Ana nuna jigon farko a cikin bass, yana farawa daga G sama da tsakiyar C. Yayin da, amsar da ke cikin muryar tenor ta shiga cikin ma'auni 5, amma, amsa ce ga farar, wanda shine dalilin da ya sa wasu canje-canjen sauti suka shafi.
Sa'an nan kuma, muryar soprano da ta shiga cikin mashaya 9 ta shiga tsakani, ko da yake ta bar sanduna biyu na farko na jigon biyayya daidai, amma ɗayan yana samun canji. Ana haifar da shigarwar ƙarshe lokacin da saman mashaya 13 ya bayyana.
A halin yanzu, sashe na biyu yana buɗewa ta amfani da jigo iri ɗaya tare da wani canji. Yana kama da abin da aka saba da shi: muryoyin suna shiga ɗaya bayan ɗaya, duk suna farawa ta hanyar nuna batun, a wasu lokuta, ana lura da shi a canza, kamar yadda a cikin sashe na farko.
Sashen yana farawa da batun, yana fallasa muryar soprano, tare da layi mai aiki a cikin bass, wanda ke nufin cewa layin da ke cikin bass shine kawai wanda ba ya shiga tare da batun har sai ya kai ma'aunin 25.
Bambance-bambancen 11 zuwa 2 Clav. Minti 19:15
Yana nufin ɗayan bambance-bambancen Goldberg, a cikin salon toccata, wanda ke nufin yanki na kiɗan Renaissance da kiɗan Baroque don kayan aikin madannai, tare da nau'i mai kyau a cikin 12/16 lokaci. Ana iya yin shi musamman don maɓallan maɓalli biyu. An haɓaka shi na musamman tare da sassan ma'auni, arpeggios da trills. Wasu canje-canjen rajista suna dagula canjin su akan piano.
Variatio 12. Canone alla Quarta. Minti 20:10
Yana nufin wani canon a cikin canji zuwa na hudu a cikin 3/4 lokaci: amsar ta shiga a karo na biyu, ko da yake a cikin kishiyar shugabanci zuwa tsari. A lokacin sashe na farko, matsayin hannun hagu yana kusa da layin bass wanda ke nunawa a cikin bayanan kwata da aka sake bugawa, cikin ma'auni: 1, 2, 3, 5, 6 da 7.
Sannan muna da cewa an nuna waɗannan bayanan da aka sake bugawa iri ɗaya a ma'aunin farko na sashe na biyu, kasancewar suna auna 17, D biyu da C ɗaya; kuma yana da ɗan canzawa, a cikin sanduna 22 da 23. Yayin da a cikin sashe na biyu, Bach, na canza maɓalli a hankali ta hanyar gabatar da wasu tallafi, kamar sanduna 19 da 20, da sau uku, sanduna 29 da 30.
A cikin wannan bambance-bambancen fassarar lokaci mai nauyi na iya faruwa. A wasu lokuta, wasu masu yin wasan kwaikwayo, irin su Glenn Gould a piano, ko Jean Guillou a sashin jiki, sun yi nasarar yin juzu'i na zahiri.
Bambance-bambancen 13 zuwa 2 Clav. Minti 21:45
Yana da jinkirin, mai sauƙi da ƙari da ƙawata bambancin sarabande, wanda ke faruwa a cikin ¾ lokaci. Babban ɓangaren waƙar yana kunshe a cikin bayanan kiɗa, an ƙawata shi da wasu appoggiaturas, waɗanda aka lura a cikin sashe na biyu, yayin da wasu kayan ado.
A mafi yawan tsayin guntun waƙar, ana yin rajistar waƙar a cikin murya ɗaya, ana iya lura cewa a cikin sanduna 16 da 24, akwai tasiri mai ban sha'awa da aka haifar ta hanyar amfani da ƙarar murya.
Bambance-bambancen 14 zuwa 2 Clav. Minti 24:25
Wannan bambance-bambancen yana fasalta toccata mai ruhi, wanda aka haɗa cikin sassa biyu tare da hannaye masu kulle-kulle cikin ¾ lokaci, wanda ke da tarin tarin yawa da sauran kayan adon. Ana iya kunna shi ta hanyar garaya na musamman tare da littattafai guda biyu, kuma ya ƙunshi tsalle-tsalle masu tsayi da yawa tsakanin rubutun.
Ana iya lura da cewa an nuna kayan ado da tsalle-tsalle daga mashaya ta farko: gunkin yana farawa da juyin halitta daga G, octaves biyu a ƙasan tsakiyar C, tare da saukowa mordent ( kayan ado na kiɗa), haɗe zuwa G biyu octaves suna tashi. trill wanda ya dawo farkon.
Da zarar idan aka kwatanta da bambancin 15, Glenn Gould ya ba da cikakken bayani game da shi a matsayin "tabbas ɗaya daga cikin mafi sauri guda na neo-Scarlatism wanda ake iya tunanin."
Variatio 15. Canone a la Quinta akan keken kishiyar A 1 Clav. Tafiya Minti 25:30
A cikin wannan kasancewa ɗaya daga cikin Bambancin Goldberg, ana samun shi a cikin canon na biyar, a cikin 2/4 lokacin da aka nuna. A cikin bambance-bambancen 12, akasin haka, tare da ƙaddamarwar da aka tsara ya canza a ma'auni na biyu. Wannan shine farkon farkon bambance-bambancen guda uku da aka samu a cikin G ƙarami, kuma sha'awar sa ba ta dace ba tare da kuzari da farin ciki na bambancin baya.
Bisa ga abin da ’yar wasan pian Angela Hewitt ta lura, an lura cewa akwai “tasiri mai ban mamaki a ƙarshen wannan bambance-bambancen: hannaye suna motsawa daga juna, hannun dama sun ɗaga sama, bayan buɗe na biyar. Yana da fade mai jituwa, cewa masu sauraro suna mamakin, a cikin tsammanin ci gaba da sauraren, yana da kyakkyawar ƙarewa ga tsakiyar wannan yanki na kiɗa ".
Yayin da Glenn Gould ya ce game da wannan bambance-bambancen: "Shi ne mafi tsayayyen bambance-bambancen kuma tare da kyakkyawan canon, mafi ƙarfi kuma mafi kyawun da na sani, canon yana cikin jujjuyawar quinine. Wani yanki ne mai sha'awa, da bacin rai, kuma yana ɗagawa a lokaci guda, wanda ba a samun shi ta kowane fanni a waje da sararin samaniya a cikin Passion, a cewar Saint Matiyu, hakika, koyaushe yana tunanin bambancin 15 a matsayin abin banmamaki. taron Juma'a mai kyau, mai kyau"
Bambance-bambance 16. Matsala zuwa 1 Clav. Minti 30:30
A cikin wannan bangare, akwai jerin bambance-bambancen da za a iya cancanta waɗanda aka kasu kashi biyu, waɗanda aka daidaita a cikin goma sha biyar na farko da na goma sha biyar masu zuwa. An yiwa rabon alama da babban abin lura, wanda aka lura da shi a matsayin mai girma, wanda aka samo a cikin bugu na Peters, tare da buɗewa yana farawa da ƙira mai zurfi musamman a farkon da ƙarshe.
Ana iya cewa wannan da'a ta wuce gona da iri ita ce juzu'i na Faransanci, wanda ya dogara ne akan jinkirin ƙwanƙwasa tare da ɗigon kari, wanda ke fuskantar gaba da gaba na sashe na gaba da aka nuna azaman allegretto.
Don haka, ba kamar bambance-bambancen da aka ambata a baya ba a sashe na B, yana kwatanta sashe na A, adawar ta fi fitowa fili a cikin wannan bambance-bambancen, tare da ban mamaki iri-iri tsakanin nishaɗi, da waƙa mai girma, kuma mafi kuzari da wayo. yana nuna karara, wato sama ko žasa a tsakiyar bambancin, bayan ma'auni 16.
Bambance-bambancen 17 zuwa 2 Clav. Minti 32:10
Daga cikin bambance-bambancen Goldberg, wani nau'i ne na virtuosa toccata, wanda aka rabu gida biyu. Williams yana jin ra'ayoyin Antonio Vivaldi da Domenico Scarlatti a cikin wannan bambancin. Yana da na musamman da za a yi amfani da shi tare da litattafai biyu, yanki na kiɗa yana buƙatar haɗa hannu. Yana da kusan ¾ lokaci, kuma yawanci ana buga shi da sauri a hankali. Rosalyn Tureck, ɗan wasan piano na Amurka da mawaƙa, yana daga cikin ƴan wasan ƙwallo da suka yi rikodin jinkirin sigar wannan bambancin.
Yayin da yake aiki akan sabon rikodin sa na 1981 na Goldberg Variations, Glenn Gould ya yaba da wasa da wannan bambancin a cikin sauri mai sauƙi, kiyaye saurin bambancin da ya gabata, watau 16, duk da haka, ya yanke shawarar kada ya yi shi. , saboda "bambancin 17" , Yana daya daga cikin haske, wanda aka sani da banza, tarin ma'auni da ma'auni wanda Bach ya yarda da shi lokacin da ba a sadaukar da shi ga plasma masu kyau da kuma isassun al'amura irin su fugues da canons, da sauri na tsari, ganganci, Jamusanci ".
Bambancin 18 Canone alla Sesta a 1 Clav. Minti 33:05
Wannan kasancewa ɗaya daga cikin Bambancin Goldberg, yana nufin canon zuwa na shida a cikin 2/2 lokaci. Yayin aikin canonical na manyan muryoyin, ana haifar da katsewa. Idan akai la'akari da cewa tsarin canons na Goldberg Variations, Glenn Gould ya kawo wannan bambance-bambancen, a matsayin misali mai ƙarfi na "duality duality na maimaita girmamawa, ana buƙatar layin canonical don tallafawa rawar passacaglia, wanda shine babban watsi da shi. layin bass".
Gould, ya yi magana game da sharhi tare da ƙauna mai girma game da wannan canon a cikin jawabin rediyo, tare da ƙwararren kiɗa kuma mai suka Tim Page, yana nuni: “Littafi na shida, na ƙaunace shi, kyakkyawa ce mai kyau. Ko da yake, Ina ƙaunar duk canons, duk da haka, wannan yana ɗaya daga cikin bambancin da na fi so. "
Bambance-bambancen 19 zuwa 1 Clav. Minti 34:05
Dangane da wannan da aka tsara a cikin bambance-bambancen Goldberg, yana kama da rawa, ana samun shi cikin muryoyi uku a cikin 3/8 lokaci. Alamar rubutu iri ɗaya ce ta goma sha shida, wacce ake amfani da ita ta dindindin, tana canzawa da musanya tsakanin sautuna uku waɗanda ke ɗauke da guntun. Cantus firmus, wanda ke nufin karin waƙar da aka rigaya ta kasance wacce ta zama tushen abin da ake kira polyphonic, ya sake fitowa.
Irin wannan bambancin ya ƙunshi jerin abubuwa da jujjuyawar maƙasudin, duka a farkon da a sashe na biyu.
Bambance-bambancen 20 zuwa 2 Cla. Minti 35:10 (Wani fassarar hauka)
Yana da virtuoso toccata, wanda aka haɗa cikin guntu biyu cikin ¾ lokaci. Ana nuna shi don maɓalli tare da littattafai guda biyu, kuma ana buƙatar haɗakarwa da yawa na hannaye. Wannan yanki yana tasowa da bambance-bambancen rubutu da aka gabatar a cikin sanduna takwas na farko, inda a bayyane yake cewa hannu ɗaya yana kunna ci gaba na bayanin kula na takwas, ɗayan kuma yana kusa da sauran bayanin kula na goma sha shida, bayan kowane bayanin kula na takwas.
Saboda haka, a mafi yawan tafsirin akwai bambanci mai ƙarfi tsakanin ƙaƙƙarfan bambancin bambance-bambancen Goldberg 19, da nassosi masu ƙarfi da sauri waɗanda ke cikin wannan bambance-bambancen. Duk da haka, da yawa masu wasan kwaikwayo, kamar yadda lamarin yake tare da Claudio Arrau a piano, sun fi son yin wasa guda biyu a lokaci guda, mai hankali virtuosic, wanda ke haifar da ƙananan bambanci a cikin guda.
Variatio 21. Canone alla Settima. Minti 36:00
Daga cikin waɗannan Bambance-bambancen Goldberg, yana wakiltar na biyu, tare da maɓallin G ƙananan, a bambancin 21 shine canon wanda aka samo a cikin na bakwai a cikin 4/4 lokaci. Kenneth Gilbert ya cancanci shi a matsayin Allemande, wanda ke nufin rawa na Jamusanci. Layin ƙasa, wanda ya fara da ƙaramin bayanin kula, wanda yawancin masu wasan kwaikwayo sukan jaddada, ya fito ne daga raguwar chromatic daga babban bayanin kula, kawai yana zuwa ga muryoyin canonical daga ma'auni na uku: samfurin irin wannan, tare da bambancin kasancewa ɗan ƙarfin hali, shi yana buɗewa akan layin bass a farkon sashe na biyu, wanda ya fara da kishiyar buɗaɗɗen motsi.
Idan aka kwatanta da bambancin 15, kasancewar farkon bambancin G ƙarami, wannan yanki yana wakiltar kasancewarsa a tsaye, ana nuna yana tafiya a cikin bugun Peters.
Variatio 22 Alla breve a 1 Clav. Minti 38:15
Daga cikin bambance-bambancen Goldberg, wanda aka nuna alla breve, yana nuna sassa huɗu da aka kama tare da wurare daban-daban na mimic da ke ƙunshe a cikin duk muryoyin, sai dai bass, wanda ya fi na fugue. A cikin wannan kawai kayan ado da ke tare da shi shine trill, wanda aka yi shi da kyau a cikin duka, wanda aka shimfiɗa a cikin sanduna biyu: 11 da 12; ta yadda wasu 'yan wasan da ke yin Bambancin Goldberg tare da haɓakawa suna ƙara wasu ƙananan kayan ado a cikin maimaita na biyu na kowane ɓangaren.
Jigon da aka samo a cikin bass, inda aka ƙaddamar da saitin bambance-bambancen, watakila an fi jin shi sosai a cikin wannan bambancin, kamar yadda yake a cikin quodlibet, duk saboda sauƙi na layin bass wanda ke da ban mamaki a wannan yanayin.
Bambance-bambancen 23 zuwa 2 Clav. Minti 39:20
Daga cikin Bambance-bambancen Goldberg, wannan wani mai fahimi ne, wanda aka haɗa cikin gutsutsutsu guda biyu don harpsichord tare da littattafai guda biyu, a cikin ¾ lokaci. Yana farawa da hannaye suna bin juna, da alama yana kan layin waƙar, wanda ke farawa da hannun hagu tare da kai hari mai ƙarfi akan G da kuma tsakiyar C, yana zazzagewa daga D sama da A, ga shi yana ba hannun dama mamaki, yana kwaikwaya. hannun hagu kamar dai tsayin tsayi ɗaya ne, duk da haka, tare da rubutu na takwas, a cikin ma'auni uku na farko, ya ƙare da ƙaramin ƙaya a ƙarshen ma'auni na huɗu:
Irin wannan makircin ana sake haifar da shi a sanduna 4 zuwa 8, kawai abin da kawai shi ne cewa tare da hannun hagu an kwatanta shi zuwa dama, kuma tare da ma'auni masu tasowa, maimakon saukowa. Ana maye gurbin hannayen hannu a cikin ƙananan fashewar da ke cikin bayanin kula, tare da ɗan gajeren lokaci har sai an kai ƙarshen sanduna uku da suka dace da sashe na farko.
Yayin da a cikin sashe na biyu, yana farawa da irin wannan canji a cikin ƙananan fashe kuma, sannan ya shiga cikin wani yanki mai ban mamaki na taɓawa na uku, a jere tare da hannaye biyu.
Masana da yawa a kan wannan batu sun bayyana ra'ayoyinsu game da al'amarin, alal misali, 'yar wasan pian Angela Hewitt, ta bayyana: "fashewar kashi biyu cikin uku da shida na gaske yana tura fasahar keyboard da ta wanzu a lokacinsa zuwa iyaka, yana buɗe hanyar zuwa gaba. maɓallan maɓalli. yayin da fitaccen mai suna Peter Williams, wanda ya ji dadin inganta wannan labarin, ya yi wa kansa tambayar "Shin da gaske wannan zai iya zama bambancin jigon jigon da ke bayan wannan magana mai lamba 25?"
Variatio 24. Canone all'Ottava a 1 Clav. Minti 40:15
Wannan shine ɗayan Canon's Goldberg Variations zuwa octave a cikin 9/8 lokaci. Ana amsa tayin octave a ƙasa, da kuma octave a sama: kasancewarsa kawai bambancin da ke cikin gabatarwa, yana canzawa tsakanin layin da ke tsakiyar sashin. A cikin wannan bambance-bambancen, kayan ado ba su kasance a lokacin sashe na farko ba, sai dai wasu tallafi, duk da haka, a cikin sashe na biyu an nuna nau'i-nau'i da wasu kayan ado na kiɗa, wanda marubucin ya nuna.
Bambance-bambancen 25. zuwa 2 Clav. Adage. Minti 41:55
Wannan bambancin 25, shine na uku kuma na ƙarshe na ƙananan bambance-bambancen G, yana da sassa uku, kuma ana nuna shi azaman Adadio, ma'ana maimaita magana, a cikin kwafin Bach, kuma yana cikin ¾ lokaci. An ɗora waƙar da kyau a cikin bayanin kula na goma sha shida da bayanin kula na sha shida, tare da babban chromaticism. Bambanci ne wanda yawanci ana yin shi cikin mintuna biyar, kuma ya fi sauran tsayi, duk da haka, yana da ma'auni talatin da biyu ne kawai.
Wannan bambancin ana yi masa laqabi da "baƙar lu'u-lu'u", na dukkan bambance-bambancen Goldberg, wanda mawaƙin mawaƙa da pianist Wanda Landowska suka bayar, wannan Bambancin Goldberg 25, masana da yawa sun ƙiyasta shi a matsayin mafi kyawun aiki da ban sha'awa a cikin dukkan ƙarfinsa. .
Haka kuma, Williams ya kuskura ya rubuta game da ita a matsayin "kyakkyawa da duhu sha'awar wannan bambancin a fili ya sa ya zama mafi girman matakin tunani a cikin dukan aikin", yayin da Gould ya ci gaba da cewa "bayyanar wannan bambancin nostalgic da gaji ditty, shi ne. gwanintar ilimin halin dan Adam".
Ya kamata a tuna cewa tattaunawar rediyo ta Tim Page, wanda ya kwatanta shi a matsayin bambancin da ke da "nau'i mai ban sha'awa na chromatic", wanda Gould ya amince da ba da yarjejeniyarsa ga lokacin da ya bayyana: "Ba na tsammanin akwai wata jijiya mafi kyau. na inganta dangantakar a kowane lokaci tsakanin Gesualdo da Wagner."
Bambance-bambancen 26. zuwa 2 Clav. Minti 47:55
Bambance-bambancen wayo tare da zurfafawa da ɗokin yanayi na Bambancin Goldberg da ya gabata wani yanki ne mai salo na toccata na kirki, wanda aka kasu kashi biyu, mai farin ciki cikin ɗabi'a da dizziness shima.
An samo shi a ƙarƙashin saurin arabesques, wannan bambance-bambancen shine kamannin sarabande, bisa ga abin da Gilbert ya faɗa. Ana nuna wuraren compás guda biyu a ranakun 18 da 16 don waƙar waƙar da aka bayyana a cikin bayanin kula na goma sha shida da ¾ don jituwa cikin bayanin kula na kwata da bayanin kula na takwas; a cikin sanduna biyar na ƙarshe, duka hannun hagu da hannun dama suna wasa zuwa sa hannun lokacin 18/16.
Saboda saurin yanki, da ƙarin tallafi waɗanda aka samo suna cikin kwafin sirri na Bach, wannan bambance-bambancen ya cancanci zama ɗaya daga cikin mafi rikitarwa don wasa. Akwai ƴan tafsiri, waɗanda a cikin fitacciyar hanya, kamar Rosalyn Tureck a piano, suna amfani da matsakaicin gudu. Yawancin wasan kwaikwayon suna ci gaba da sauri da sauri.
Yawancin bincike da bincike daga kwararrun masana kida, kamar batun malamin waka mai suna Cory Hall, sun ba da shawarar cewa an ba da shawarar yin wannan bambancin cikin sauri fiye da na baya-bayan nan.
Variatio 27. Canone alla Nona. ku 1 Clav. Minti 48:50
Wannan bambancin shine canon zuwa na tara a cikin lokaci 6/8. Kasancewa daya tilo daga cikin litattafai inda amfani da litattafai guda biyu ya bayyana a sarari, ban da kasancewarsa kawai mafi girman aikin aikin, saboda ba shi da layin bass. Haka nan, shi ne canon na ƙarshe wanda aka saka a cikin Bambancin Goldberg.
Bambance-bambancen 28. zuwa 2 Clav. Minti 50:15
Yana ɗaya daga cikin Bambance-bambancen Goldberg inda toccata ke nan a cikin gutsuttsura biyu a cikin ¾ lokaci. Yana buƙatar babban haɗin gwiwar hannu, shi ma ainihin jigo ne na trills: an rubuta trills a cikin fusas, kuma ana nuna su ga mafi yawancin a cikin sanduna.
Wannan yanki yana farawa da tsarin da hannun dama ya yi, wanda ke wasa da rubutu uku a kowane ma'auni, yana ƙirƙirar layin kiɗa akan ƙwanƙwasa da hannun hagu ke kunnawa. Layin kiɗa yana biye, wanda aka yiwa alama a bayanin kula na goma sha shida, ma'auni 9-12.
Sashe na farko ya ƙare, yana nuna trills da hannayensu biyu suka sake yin su, suna nuna ɗaya a saman ɗayan: sashe na biyu yana farawa kuma ya ƙare da wannan tunani, tare da motsi sabanin ra'ayi a cikin sanduna 9 zuwa 12. Babban sashi na Matakan, ana nuna trills a hannaye biyu tsakanin matakan 21 da 23.
Bambanci 29. a 1 ovvero 2 clav. Minti 50:15
Yana daya daga cikin bambance-bambancen Goldberg, kasancewa yanki ne wanda aka yi la'akari da virtuosic, wanda ya bambanta da sauran aikin: maimakon zama maƙasudi, yawanci ya dogara ne akan ƙididdiga masu ƙarfi, wanda ke canzawa tare da sassa masu ban mamaki. Yana cikin ma'auni. Wannan babban bambamci ne wanda ke kara bajintar jarumtaka bayan hasashe na bambance-bambancen da suka gabace shi. Glenn Gould, ya bayyana game da wannan a matsayin "bambance-bambancen na 28 da 29, kasancewar shine kawai kuma keɓantaccen yanayin haɗin gwiwa tsakanin motifs na ci gaba da bambance-bambancen duka".
Bambance-bambance 30. Quodlibet. A 1 Clav. Minti 52:15
Ana samun wannan a cikin Bambancin Goldberg, yana dogara ne akan quodlibet, wanda ke ƙunshe a cikin waƙoƙin waƙoƙi daban-daban na asalin Jamusanci, biyu daga cikinsu suna addu'a: "Na daɗe da nisantar ku, ku matso, ku matso", Ich bin solang nicht bei dir g'west, rud'e ta, rud'e ta; da sauran "Kabeji da turnips sun sa na tafi, da mahaifiyata ta dafa nama, da na zauna", Kraut und Rüben haben mich vertrieben, hätt mein' Mutter Fleisch gekocht, wär ich länger blieben.
Musamman jigon da ake kira Kraut und Rüben, mai sunan La Capricciosa, Dietrich Buxtehude ya yi amfani da shi a baya, don aiwatar da lambar partita 32 a cikin G major, Bux WV 250.23. An manta da sauran. Yayin da Forkel ya bayyana akan quodlibet, yana tunawa da al'adar iyali na dangin Bach, don jin dadin wasanni na kiɗa a taron dangi, ya kamata a lura cewa babban ɓangare na zuriyar Bach sun kasance mawaƙa. Haka dai suka shirya suka shirya mawaka.
A cikin zazzafar farkonsu, sun iso tare da ƙungiyoyi waɗanda gabaɗaya suka bambanta. An sadaukar da su don rera shahararrun waƙoƙin waƙa tare da ban dariya da abubuwan ban dariya, suna haɗuwa ba zato ba tsammani a wasu lokuta. Don haka, irin wannan yanayin da aka ƙirƙira tsakanin waƙoƙin, suna kiransa quodlibet, waɗanda suke jin daɗin rera waƙa, haka kuma ya haifar da dariya marar karewa ga duk wanda ya saurare ta.
Ya ba da labarin, wani labari, mai yiwuwa gaskiya ne a bangaren Forkel, kasancewar ya sami damar yin magana da 'ya'yan Bach, ta hanyar gaskiya da gaskiya wanda Bach ya yi ƙoƙari ya yi wannan qudlibet, shi ne buffoonery, don haka. cewa da yawa wadanda suka saurare shi sun kiyaye shi a yau daga wannan mahangar.
Duk da yake ga Borschel, daidai wannan ƙarshe tare da quodlibet, shi ne abin da yake wakilta kuma, cewa subtitle ba ya gabatar da wani m baroque dabara, akasin haka ya zama recreatio cordis, wanda ke fassara wani farin ciki na zuciya, a cikin mai kyau Lutheran hankali. Na jimlar, wadda ke da sarari a cikin kamfanin laudatio Dei, ma'ana Godiya ga Allah, wanda Bach ya yi la'akari a lokuta daban-daban a matsayin abin da ya ba da ma'ana ga kiɗansa.
Aria da Capo e fine
Wannan furci yana nufin maimaita bayanin kula ta aria, duk da haka, yawanci ana yin shi ta wata hanya dabam dabam, sau da yawa tare da gabatarwa wanda za'a iya bayyana shi azaman melancholic.
Komawar aria yana ƙara daidaitawa ga aikin, watakila abubuwa masu ban sha'awa na yanayin cyclical da ke cikin aikin.
BWV 1087: Canons goma sha huɗu daga bass na aria daga bambance-bambancen Goldberg
A cikin wannan ɗayan inda ƙarshen ƙarshen Bach ya kasance, mai suna Vierzehn Kanons über die ersten acht Fundamentalnoten der Aria aus den Goldberg-Variationen, ya ƙunshi canons ɗin da aka tsara guda goma sha huɗu, daga mahimman bayanai takwas na bass na aria na Goldberg Variations.
An samo wannan aikin a Strasbourg, Alsace, Faransa, a cikin 1974, wanda aka ɗauka a matsayin wani ɓangare na wani ƙari ga bugu na sirri na Goldberg Variations, mallakar Bach.
Hakazalika, an ambaci, a cikin lambar Canon 11 da 13, cewa sun bayyana kama da sigar farko ta canons BWC 1076 canon don muryoyi shida, da BWC 1977 canon don muryoyin murya huɗu tare da batun a matsayin bass, waɗanda aka keɓance a cikin sanannen sanannen. Hoton Bach, daga zanen da Elias Gottlob Haussmann ya zana daga shekara ta 1746.
Fassarorin da nau'ikan Bambancin Goldberg
A cikin wannan bangare, za mu yi magana game da yadda Goldberg Bambance-bambancen da aka samu a daban-daban free versions, a hannun da yawa masu wasan kwaikwayo da kuma composers, ko dai saboda sun canza kayan aiki, bayanin kula ko duka abubuwa, daga cikinsu za a iya ambata:
Haihuwa na musamman da za a buga akan piano, wanda aka canza shi, ta Ferruccio Busoni.
Año 1883
Josef Rheinberger. Rubutun na piano biyu.
Año 1912
Józef Koffler. Sake kunnawa don piano mai hannu huɗu
Año 1938
Józef Koffler. Sake bugawa don ƙungiyar makaɗa, kirtani ƙungiyar makaɗa.
Año 1975
Charles Ramirez da Helen Kalamuniak. Rubutun ga guitar biyu.
Año 1984
Dmitry Sitkovetsky. Sakewa don kirtani uku. Haka kuma an rubuta wa mawaƙan kirtani.
Año 1987
Jean Guillou. Rubutun ga gabobin.
Año 1991
Joel Spiegelmann ne adam wata. sake kunnawa na musamman don synthesizer
Año 1997
József Eötvös. Rubutun don guitar
Año 2000
Jacques Loussier ne adam wata. Haɗa don Jazz uku.
Año 2003
Karlheinz Essl. Tsari don kirtani uku da na'urorin lantarki kai tsaye.
Año 2009
Katarina Finch. Cikakken rubutun don amfani da garaya.
Año 2010
Frederick Sarudiansky. Tsarin kiɗa don kirtani uku.
Año 2011
James Strauss. Cikakken wasa don sarewa da garaya, ko sarewa da piano.
muhimmanci discography
Hakanan an yi amfani da Bambancin Goldberg a cikin wannan nau'in, waɗanda aka bayyana a ƙasa:
Shekarar 1933: Nuwamba a Paris. Wanda Landowska. EMI 5 67200, ADD, maɓalli
Shekarar 1942: Claudio Arrau. Rikodin piano na farko
Shekarar 1945: Wanda Landowska. New York. rc, ku
Shekarar 1954: Yuni 21. Glenn Gould. CBC, biri, piano
Shekarar 1955: 10 ga Yuni. Glenn Gould. New York. Sony Classical 52 594. ADD, piano
Shekarar 1957: Rosalyn Turek. Phillips, piano
Shekarar 1959: Glenn Gould. Rikodi kai tsaye a bikin Salzburg. Sony Classical 52685, ADD, piano. Ralph Kirkpatrick. Deutsche Grammophone 439 673-2. ADD, key
Shekara ta 1960-1961: Watan Yuni. Helmut Walcha. Hamburg. EMI 4 89166. KARA, maɓalli
Shekarar 1969: Watan Yuni. Charles Rosen. New York. SonySBK 4817. ADD, piano. Yuli Wilhelm Kempff. Deutsche Grammophone 439 978-2. ADD, piano
Shekarar 1978: Gustav Leonhardt. Deutsche Harmonia Mundi GD77149. ADD, key
Shekarar 1980: Trevor Pinnock ne. Samar da Archiv 415 130-2. ADD, key. João Carlos Martins. Concord Records 1343-12023-2, piano
Shekarar 1981: watan Afrilu da Mayu. Glenn Gould. New York. Sony Classical 52619. DDD, piano. Watan Yuni. Alexis Weissenberg ne adam wata. Wagram Room, Paris. EMI - DDD, piano
Shekarar 1982: watan Fabrairu. Grigory Sokolov. Birnin Leningrad. Live, Melodija, piano. Watan Disamba. Andras Schiff. London. Daga 417 116-2. DDD, piano
Shekarar 1985: Watan Oktoba. Chen Pi-hsien. Frankfurt am Main. Naxos 8.550078. DDD, piano.
Shekarar 1986: Watan Afrilu. Kenneth Gilbert ne adam wata. HMA 1951240 - DDD, maɓalli. Watan Yuni. Mary Type. Paris. EMI HMV 5 86666 - DDD, piano
Año 1987: Watan Nuwamba. Jean Guillo. Cocin Notre-Dame des Neiges, Alpe d'Huez, Faransa. Dorian 90110, sashin jiki. Kiɗa
Shekarar 1988: Ton Koopman. ERATO 45326-2 DDD, maɓalli
Shekarar 1989: Watan Janairu: Keith Jarrett. ECM Records 839 622-2.DDD, kalmar sirri
Año 1990: Bob van Asperen. EMI CDC 7 54209 2, DDD, maɓalli
Año 1991: Maggie Cole. Budurwa 5 61555 (CDs 2), DDD, maɓalli. Christiane Jacottet. TMI 446927-2 - DDD - tare da BWV 802-805. Maɓalli, ba tare da maimaitawa ba
Año 1992Tatyana Nikolaeva. Hyperion CDA 66589, DDD, piano
Shekarar 1993: Rosalyn Turek. Video Artist International VAIA 1029, ADD, piano. Andrey Gavrilov. Deutsche Grammophon 435 436-2, DDD, piano. Watan Oktoba. Eleonore Buhler-Kestler. Bayreut, Jamus. CHARADE; CHA 3012, DDD, key. Watan Oktoba. NES Chamber Orchestra. Hamburg, rubutun Dmitry Sitkovetsky, Nonesuch, violin da ƙungiyar makaɗa.
Año 1994: Watan Yuni. Peter Serkin. Manhattan BMG Classics 09026 68188 2, DDD, piano. Watan Yuni. Konstantin Lifschitz. Denon Records #78961.DDD, piano. Lifschitz yana da shekaru 17 kacal a lokacin.
Shekarar 1999: Watanni: Afrilu da Yuli. Pieter-Jan Belder. Brilliant Classics 92284. DDD, maɓalli. Watan Agusta da Satumba. Angela Hewitt ne adam wata. Henry Wood Hall, London. Hyperion Records CDA 67305, piano.