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The Goldberg Variations (German: Goldberg-Variationen), BWV 988, is a musical composition for keyboard by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, it is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work. Composition The story of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel: [For this work] we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. ... Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the Count always called them his variations. He never tired of them, and for a long time sleepless nights meant: "Dear Goldberg, do play me one of my variations." Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 Louis d'or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for. Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader. Williams (2001) contends that the Forkel story is entirely spurious. Arnold Schering has suggested that the aria on which the variations are based was not written by Bach. More recent scholarly literature (such as the edition by Christoph Wolff) suggests that there is no basis for such doubts. Publication Rather unusually for Bach's works, the Goldberg Variations were published in his own lifetime, in 1741. The publisher was Bach's friend Balthasar Schmid of Nuremberg. Schmid printed the work by making engraved copper plates (rather than using movable type); thus the notes of the first edition are in Schmid's own handwriting. The title page, shown in the figure above, reads in German: The term "Clavier Ubung" (nowadays spelled "Klavierübung") had been assigned by Bach to some of his previous keyboard works. Klavierübung part 1 was the six partitas, part 2 the Italian Concerto and French Overture, and part 3 a series of chorale preludes for organ framed by a prelude and fugue in E♭ major. Although Bach also called his variations "Klavierübung", he did not specifically designate them as the fourth in this series. Nineteen copies of the first edition survive today. Of these, the most valuable is the Handexemplar (Bach's personal copy of the published score), discovered in 1974 in Strasbourg by the French musicologist Olivier Alain and now kept in the Bibliothèque nationale de France, Paris. This copy includes printing corrections made by the composer and additional music in the form of fourteen canons on the Goldberg ground (see below). The nineteen printed copies provide virtually the only information available to modern editors trying to reconstruct Bach's intent, as the autograph (handwritten) score has not survived. A handwritten copy of just the aria is found in the 1725 Notebook for Anna Magdalena Bach. Christoph Wolff suggests on the basis of handwriting evidence that Anna Magdalena copied the aria from the autograph score around 1740; it appears on two pages previously left blank. Instrumentation On the title page, Bach specified that the work was intended for harpsichord. It is widely performed on this instrument today, though there are also a great number of performances on the piano (see Discography below). The piano was rare in Bach's day and there is no indication that Bach would have either approved or disapproved of performing the variations on this instrument. Bach's specification is, more precisely, a two-manual harpsichord, and he indicated in the score which variations ought to be played using one hand on each manual: Variations 8, 11, 13, 14, 17, 20, 23, 25, 26, 27 and 28 are specified for two manuals, while variations 5, 7 and 29 are specified as playable with either one or two. With greater difficulty, the work can nevertheless be played on a single-manual harpsichord or piano. Form After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria, but rather use its bass line and chord progression. The bass line is notated by harpsichordist and musicologist Ralph Kirkpatrick in his performing edition as follows. The digits above the notes indicate the specified chord in the system of figured bass; where digits are separated by comma, they indicate different options taken in different variations. Every third variation in the series of 30 is a canon, following an ascending pattern. Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second (the second entry begins the interval of a second above the first), variation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth. The final variation, instead of being the expected canon in the tenth, is a quodlibet, discussed below. As Kirkpatrick has pointed out, the variations that intervene between the canons are also arranged in a pattern. If we leave aside the initial and final material of the work (specifically, the Aria, the first two variations, the Quodlibet, and the aria da capo), the remaining material is arranged as follows. The variations found just after each canon are genre pieces of various types, among them three Baroque dances (4, 7, 19); a fughetta (10); a French overture (16); two ornate arias for the right hand (13, 25); and others (22, 28). The variations located two after each canon (5, 8, 11, 14, 17, 20, 23, 26, and 29) are what Kirkpatrick calls "arabesques"; they are variations in lively tempo with a great deal of hand-crossing. This ternary pattern—canon, genre piece, arabesque—is repeated a total of nine times, until the Quodlibet breaks th.... Discover the Sebastian Hatt popular books. Find the top 100 most popular Sebastian Hatt books.