Johann Sebastian Bach
BWV 988 - Aria
Emir Gamsız, piano
This piece is in the album:
Read about the album: Click here.
Read about the composer: Click here.
Read about the pianist: Click here.
Listen to the preview:
ABOUT THE WORK:
This Aria is the piece Johann Sebastian Bach built one of his well-known compositions Goldberg Variations. It was first published in 1741, it is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work. The first Johann Sebastian Bach biographer was Johann Nikolaus Forkel and he tells how this whole composition and Aria is related to sleep, or shall we say lack of sleep (insomnia):
[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.
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. At the end of the thirty variations, Bach writes Aria da Capo e fine, meaning that the performer is to return to the beginning ("da capo") and play the aria again before concluding. It is undeniable that 30 variations with the aria (played twice) makes for 32 movements in total and the theme itself is 32 bars long.
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.
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 the cycle.