Hyperion Records

Goldberg Variations 'Aria mit verschiedenen Veränderungen', BWV988
composer
published in 1741/2 by Baltasar Schmidt of Nuremberg

Recordings
'Bach & Sitkovetsky: Goldberg Variations' (CDA67826)
Bach & Sitkovetsky: Goldberg Variations
Buy by post £10.50 CDA67826 
'Bach: Angela Hewitt plays Bach' (CDS44421/35)
Bach: Angela Hewitt plays Bach
Buy by post £50.00 CDS44421/35  15CDs Boxed set (at a special price)  
'Bach: Goldberg Variations & other works' (CKD356)
Bach: Goldberg Variations & other works
CKD356  2CDs Download only  
'Bach: Goldberg Variations' (CDA66589)
Bach: Goldberg Variations
Buy by post £10.50 CDA66589 
'Bach: Goldberg Variations' (CDA67305)
Bach: Goldberg Variations
Buy by post £10.50 CDA67305 
'The Essential Hyperion, Vol. 2' (HYP20)
The Essential Hyperion, Vol. 2
HYP20  2CDs Super-budget price sampler — Deleted  
Details
Movement 01: Aria
Track 1 on CDA66589 [4'02]
Track 1 on CDA67305 [4'12]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 1 on CDA67826 [4'15]
Track 1 on CDS44421/35 CD13 [4'12] 15CDs Boxed set (at a special price)
Track 17 on CKD356 CD1 [4'42] 2CDs Download only
Track 8 on HYP20 CD2 [4'12] 2CDs Super-budget price sampler — Deleted
Movement 02: Variation 1: a 1 Clav.
Track 2 on CDA66589 [1'56]
Track 2 on CDA67305 [1'43]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 2 on CDA67826 [1'46]
Track 2 on CDS44421/35 CD13 [1'43] 15CDs Boxed set (at a special price)
Track 18 on CKD356 CD1 [2'03] 2CDs Download only
Movement 03: Variation 2: a 1 Clav.
Track 3 on CDA66589 [1'28]
Track 3 on CDA67305 [1'42]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 3 on CDA67826 [1'23]
Track 3 on CDS44421/35 CD13 [1'42] 15CDs Boxed set (at a special price)
Track 19 on CKD356 CD1 [2'20] 2CDs Download only
Movement 04: Variation 3: Canone all'Unisuono. a 1 Clav.
Track 4 on CDA66589 [2'11]
Track 4 on CDA67305 [2'13]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 4 on CDA67826 [2'01]
Track 4 on CDS44421/35 CD13 [2'13] 15CDs Boxed set (at a special price)
Track 20 on CKD356 CD1 [2'00] 2CDs Download only
Movement 05: Variation 4: a 1 Clav.
Track 5 on CDA66589 [1'12]
Track 5 on CDA67305 [1'03]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 5 on CDA67826 [1'03]
Track 5 on CDS44421/35 CD13 [1'03] 15CDs Boxed set (at a special price)
Track 21 on CKD356 CD1 [1'17] 2CDs Download only
Movement 06: Variation 5: a 1 ō vero 2 Clav.
Track 6 on CDA66589 [1'38]
Track 6 on CDA67305 [1'32]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 6 on CDA67826 [1'23]
Track 6 on CDS44421/35 CD13 [1'32] 15CDs Boxed set (at a special price)
Track 22 on CKD356 CD1 [1'57] 2CDs Download only
Movement 07: Variation 6: Canone alla Secunda. a 1 Clav.
Track 7 on CDA66589 [1'31]
Track 7 on CDA67305 [1'42]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 7 on CDA67826 [1'15]
Track 7 on CDS44421/35 CD13 [1'42] 15CDs Boxed set (at a special price)
Track 23 on CKD356 CD1 [2'01] 2CDs Download only
Movement 08: Variation 7: a 1 ō vero 2 Clav. Al tempo di Giga
Track 8 on CDA66589 [1'16]
Track 8 on CDA67305 [2'05]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 8 on CDA67826 [2'10]
Track 8 on CDS44421/35 CD13 [2'05] 15CDs Boxed set (at a special price)
Track 24 on CKD356 CD1 [1'50] 2CDs Download only
Movement 09: Variation 8: a 2 Clav.
Track 9 on CDA66589 [2'10]
Track 9 on CDA67305 [1'54]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 9 on CDA67826 [1'55]
Track 9 on CDS44421/35 CD13 [1'54] 15CDs Boxed set (at a special price)
Track 25 on CKD356 CD1 [2'03] 2CDs Download only
Movement 10: Variation 9: Canone alla Terza. a 1 Clav.
Track 10 on CDA66589 [1'45]
Track 10 on CDA67305 [1'48]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 10 on CDA67826 [1'35]
Track 10 on CDS44421/35 CD13 [1'48] 15CDs Boxed set (at a special price)
Track 26 on CKD356 CD1 [3'00] 2CDs Download only
Movement 11: Variation 10: Fughetta. a 1 Clav.
Track 11 on CDA66589 [1'51]
Track 11 on CDA67305 [1'38]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 11 on CDA67826 [1'30]
Track 11 on CDS44421/35 CD13 [1'38] 15CDs Boxed set (at a special price)
Track 27 on CKD356 CD1 [1'51] 2CDs Download only
Movement 12: Variation 11: a 2 Clav.
Track 12 on CDA66589 [1'23]
Track 12 on CDA67305 [2'07]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 12 on CDA67826 [1'54]
Track 12 on CDS44421/35 CD13 [2'07] 15CDs Boxed set (at a special price)
Track 28 on CKD356 CD1 [2'21] 2CDs Download only
Movement 13: Variation 12: Canone alla Quarta. a 1 Clav.
Track 13 on CDA66589 [2'31]
Track 13 on CDA67305 [2'34]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 13 on CDA67826 [1'58]
Track 13 on CDS44421/35 CD13 [2'34] 15CDs Boxed set (at a special price)
Track 29 on CKD356 CD1 [3'37] 2CDs Download only
Movement 14: Variation 13: a 2 Clav.
Track 14 on CDA66589 [2'46]
Track 14 on CDA67305 [4'35]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 14 on CDA67826 [4'39]
Track 14 on CDS44421/35 CD13 [4'35] 15CDs Boxed set (at a special price)
Track 30 on CKD356 CD1 [5'50] 2CDs Download only
Movement 15: Variation 14: a 2 Clav.
Track 15 on CDA66589 [2'35]
Track 15 on CDA67305 [2'09]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 15 on CDA67826 [2'04]
Track 15 on CDS44421/35 CD13 [2'09] 15CDs Boxed set (at a special price)
Track 31 on CKD356 CD1 [2'29] 2CDs Download only
Movement 16: Variation 15: Canone alla Quinta. a 1 Clav.
Track 16 on CDA66589 [2'48]
Track 16 on CDA67305 [4'29]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 16 on CDA67826 [3'49]
Track 16 on CDS44421/35 CD13 [4'29] 15CDs Boxed set (at a special price)
Track 32 on CKD356 CD1 [4'40] 2CDs Download only
Movement 17: Variation 16: Ouverture. a 1 Clav.
Track 17 on CDA66589 [3'12]
Track 17 on CDA67305 [3'11]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 17 on CDA67826 [2'38]
Track 17 on CDS44421/35 CD13 [3'11] 15CDs Boxed set (at a special price)
Track 1 on CKD356 CD2 [3'05] 2CDs Download only
Movement 18: Variation 17: a 2 Clav.
Track 18 on CDA66589 [2'02]
Track 18 on CDA67305 [2'12]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 18 on CDA67826 [1'59]
Track 18 on CDS44421/35 CD13 [2'12] 15CDs Boxed set (at a special price)
Track 2 on CKD356 CD2 [2'17] 2CDs Download only
Movement 19: Variation 18: Canone alla Sexta. a 1 Clav.
Track 19 on CDA66589 [1'59]
Track 19 on CDA67305 [1'28]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 19 on CDA67826 [1'30]
Track 19 on CDS44421/35 CD13 [1'28] 15CDs Boxed set (at a special price)
Track 3 on CKD356 CD2 [1'38] 2CDs Download only
Movement 20: Variation 19: a 1 Clav.
Track 20 on CDA66589 [1'55]
Track 20 on CDA67305 [1'36]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 20 on CDA67826 [1'47]
Track 20 on CDS44421/35 CD13 [1'36] 15CDs Boxed set (at a special price)
Track 4 on CKD356 CD2 [1'49] 2CDs Download only
Movement 21: Variation 20: a 2 Clav.
Track 21 on CDA66589 [2'06]
Track 21 on CDA67305 [1'53]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 21 on CDA67826 [1'57]
Track 21 on CDS44421/35 CD13 [1'53] 15CDs Boxed set (at a special price)
Track 5 on CKD356 CD2 [2'18] 2CDs Download only
Movement 22: Variation 21: Canone alla Settima. a 1 Clav.
Track 22 on CDA66589 [4'19]
Track 22 on CDA67305 [2'45]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 22 on CDA67826 [1'57]
Track 22 on CDS44421/35 CD13 [2'45] 15CDs Boxed set (at a special price)
Track 6 on CKD356 CD2 [3'18] 2CDs Download only
Movement 23: Variation 22: a 1 Clav.
Track 23 on CDA66589 [2'00]
Track 23 on CDA67305 [1'23]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 23 on CDA67826 [1'11]
Track 23 on CDS44421/35 CD13 [1'23] 15CDs Boxed set (at a special price)
Track 7 on CKD356 CD2 [1'31] 2CDs Download only
Movement 24: Variation 23: a 1 Clav.
Track 24 on CDA66589 [2'40]
Track 24 on CDA67305 [2'09]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 24 on CDA67826 [1'55]
Track 24 on CDS44421/35 CD13 [2'09] 15CDs Boxed set (at a special price)
Track 8 on CKD356 CD2 [2'22] 2CDs Download only
Movement 25: Variation 24: Canone all'Ottava. a 1 Clav.
Track 25 on CDA66589 [2'20]
Track 25 on CDA67305 [3'03]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 25 on CDA67826 [2'34]
Track 25 on CDS44421/35 CD13 [3'03] 15CDs Boxed set (at a special price)
Track 9 on CKD356 CD2 [3'48] 2CDs Download only
Movement 26: Variation 25: a 2 Clav.
Track 26 on CDA66589 [7'45]
Track 26 on CDA67305 [7'54]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 26 on CDA67826 [7'11]
Track 26 on CDS44421/35 CD13 [7'54] 15CDs Boxed set (at a special price)
Track 10 on CKD356 CD2 [7'08] 2CDs Download only
Movement 27: Variation 26: a 2 Clav.
Track 27 on CDA66589 [2'32]
Track 27 on CDA67305 [2'00]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 27 on CDA67826 [1'59]
Track 27 on CDS44421/35 CD13 [2'00] 15CDs Boxed set (at a special price)
Track 11 on CKD356 CD2 [4'01] 2CDs Download only
Movement 28: Variation 27: Canone alla Nona. a 2 Clav.
Track 28 on CDA66589 [2'11]
Track 28 on CDA67305 [1'55]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 28 on CDA67826 [1'57]
Track 28 on CDS44421/35 CD13 [1'55] 15CDs Boxed set (at a special price)
Track 12 on CKD356 CD2 [2'08] 2CDs Download only
Movement 29: Variation 28: a 2 Clav.
Track 29 on CDA66589 [3'06]
Track 29 on CDA67305 [2'17]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 29 on CDA67826 [2'34]
Track 29 on CDS44421/35 CD13 [2'17] 15CDs Boxed set (at a special price)
Track 13 on CKD356 CD2 [2'44] 2CDs Download only
Movement 30: Variation 29: a 1 ō vero 2 Clav.
Track 30 on CDA66589 [2'47]
Track 30 on CDA67305 [2'18]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 30 on CDA67826 [2'22]
Track 30 on CDS44421/35 CD13 [2'18] 15CDs Boxed set (at a special price)
Track 14 on CKD356 CD2 [2'12] 2CDs Download only
Movement 31: Variation 30: Quodlibet. a 1 Clav.
Track 31 on CDA66589 [2'35]
Track 31 on CDA67305 [2'08]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 31 on CDA67826 [1'57]
Track 31 on CDS44421/35 CD13 [2'08] 15CDs Boxed set (at a special price)
Track 15 on CKD356 CD2 [2'04] 2CDs Download only
Movement 32: Aria da capo
Track 32 on CDA66589 [2'22]
Track 32 on CDA67305 [2'40]
arranger
1985; to celebrate the 300th anniversary of Bach's birth; dedicated to the memory of Glenn Gould

Track 32 on CDA67826 [4'18]
Track 32 on CDS44421/35 CD13 [2'40] 15CDs Boxed set (at a special price)
Track 16 on CKD356 CD2 [4'48] 2CDs Download only

Goldberg Variations 'Aria mit verschiedenen Veränderungen', BWV988
EnglishFranēaisDeutsch
Johann Sebastian Bach originally wrote the Goldberg Variations for two-manual harpsichord, and it was one of very few works by Bach that were published during the composer’s lifetime, by the firm of Balthasar Schmid at Nuremberg in about 1741. The original title page describes the work as ‘Clavier-Übung [Keyboard Practice], consisting of an Aria, with diverse variations for harpsichord with two manuals, prepared to delight the souls of music-lovers by Johann Sebastian Bach’. There was no irony in the notion—expressed on this title page—of a work that aspired to speak to the soul of those playing and hearing the work: Bach, as a devout Lutheran, was deeply conscious of the spiritual dimension of music, and the wish of composers to enrich the soul as well as to divert and entertain. But the work was also an extraordinary feat of large-scale composition: if the Preludes and Fugues of the Well-Tempered Clavier are counted as self-contained pairs of works, then the Goldberg Variations constitute the most extended single piece of keyboard music published in the eighteenth century, and attracted some international attention early on. Bach is often thought of as a composer whose music was rediscovered only in the nineteenth century (thanks in large part to Mendelssohn and Schumann), but his keyboard music was something of an exception to this, even outside Germany, and the Goldberg Variations were particularly valued, though seldom played at the time. In his pioneering General History of the Science and Practice of Music, published in 1776, Sir John Hawkins devotes several pages to Bach, thanking Johann Christian Bach (who had settled in London in the 1760s) for supplying some of the information in Hawkins’s account of Bach’s life. Hawkins concludes his discussion of Bach with three full pages of music examples, comprising the Aria, Variation 9 and Variation 10 from the Goldberg Variations, making this one of the first pieces of Bach to appear in print outside Germany. It is relatively unusual to find Bach being so precise in one of his keyboard works about the instrumentation: a two-manual harpsichord is specified for the Goldberg Variations, while most of his keyboard music is composed for an unspecified ‘clavier’ (keyboard). But there is a clear element of virtuoso display in Bach’s writing here, providing ample opportunity not only for the player to demonstrate agility as well as expressive range, but also for the instrument itself to shine.

But who was Goldberg, and how does he fit into the story of these famous variations? For the most detailed evidence, we need to turn to Bach’s early biographer Johann Nikolaus Forkel (1749–1818), whose Ueber Johann Sebastian Bachs Leben, Kunst und Kunstwerke was first published in Leipzig by Hoffmeister and Kühnel in 1802. The accuracy of Forkel’s account has been much debated by scholars ever since. In 1741, either in Dresden (according to most recent sources) or in Leipzig (according to Forkel), Bach met Count Hermann Carl Keyserlingk—Russian Ambassador to the Court of Saxony—who employed a young musician called Johann Gottlieb Goldberg. In his biography Forkel relates the story as follows:

[The Count] often stopped in Leipzig and brought there with him … Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. On these occasions, Goldberg had to spend the night in an adjoining room so that he could play something to him during this sleeplessness. The Count remarked to Bach that he would like to have a few pieces for his musician Goldberg, pieces so gentle and somewhat merry in character that the Count could be cheered up by them during his sleepless nights. Bach thought he could best fulfil this wish with some variations … The Count henceforth referred to them only as his variations. He could not get enough of them, and for a long time, whenever sleepless nights came, he would say, Dear Goldberg, do play me one of my variations. Bach was perhaps never rewarded so well for one of his compositions. The Count bestowed on him a gold beaker filled with one hundred Louis d’or.

It’s a fine tale—and the source for the famous legend of these variations as a cure for insomnia—but it seems that like most good stories it is also the result of some embellishment. Goldberg was born in Danzig in 1727, and was thus only in his early teens at the time of Bach’s visit to Keyserlingk, so it’s wildly improbable that Bach wrote the variations for him to play. Moreover, they had almost certainly been published just before Bach’s meeting with Keyserlingk, so the chances are that he presented the Count with a copy having been asked about the possibility of composing some suitable music. This also helps to explain the absence of either the Count’s name or Goldberg’s on the title page of the first edition. Moreover, the Aria that is the basis for these variations is found in Anna Magdalena’s Notebook, most of which was compiled years earlier (although Christoph Wolff has suggested that the Aria was added by Anna Magdalena on blank pages in about 1740). Peter Williams has speculated that the player Bach most probably had in mind for the variations was his son Wilhelm Friedemann, a brilliant performer who had worked as organist of the Sophienkirche in Dresden since 1733. Still, Goldberg is reputed to have been a brilliantly talented young musician, and a pupil of both Johann Sebastian and Wilhelm Friedemann Bach. His compositions include a number of cantatas as well as keyboard works (though Forkel notes that while his playing was brilliant, Goldberg’s own music was less distinguished) and it is possible that Bach could have given the young Goldberg the theme to play. (This is one of the more plausible suggestions in the charming but largely fictitious Little Chronicle of Anna Magdalena Bach by Esther Meynell, first published in 1925.) Sadly, Goldberg’s career was cut short by tuberculosis, and he died in 1756 a few weeks after his twenty-ninth birthday.

The variations constitute a virtual encyclopaedia of what was possible in terms of imaginative harpsichord writing, and the piece is even more remarkable for Bach’s brilliant manipulation of the theme—the theme and every variation are in two halves of sixteen bars each, usually divided into two-bar phrases, yet Bach avoids any sense of fearful symmetry, let alone monotony. As a master of transcribing his own music for different instrumental combinations, the arrangement of the Goldberg Variations by Dmitry Sitkovetsky for string trio is an idea that would surely have appealed to the composer. Just as Mozart arranged some of the keyboard fugues from the ‘48’ for string quartet, and others have arranged The Art of Fugue for the same forces, so Sitkovetsky has taken up the challenge of re-thinking Bach’s music for entirely different instruments—as Bach himself had done not only with his own music but also with other composers such as Vivaldi, Telemann, Marcello and Torelli.

Sitkovetsky’s arrangement was made in 1985 to celebrate the 300th anniversary of Bach’s birth, and it is dedicated to the memory of Glenn Gould, whose celebrated 1955 Columbia recording of the Goldberg Variations became an instant best-seller and introduced a whole generation to this extraordinary music—a success that was virtually repeated in 1981 when Gould made a new recording that takes a less ebullient, more considered view of the work. Donald Tovey wrote that: ‘Until Beethoven wrote the Waldstein Sonata, the Goldberg Variations were the most brilliant piece of sheer instrumental display extant. No other work by Bach himself, or by Domenico Scarlatti, not even any earlier work of Beethoven could compare with it for instrumental brilliance.’ Given that part of that brilliance noted by Tovey comes from Bach’s writing for the harpsichord, it is curious that these variations first achieved worldwide fame in Gould’s version played on the piano, rather than the instrument specified by Bach. There are numerous arrangements of the Goldberg Variations for different instrumental combinations including those for two pianos by Joseph Rheinberger (revised by Max Reger), for woodwind quartet by Andrei Eshpai, for organ by Jean Guillou, and for solo guitar by József Eötvös, as well as the more drastically altered arrangement by Ferruccio Busoni (cutting out ten of the variations and adding a coda of Busoni’s own), a version for jazz trio by Jacques Loussier and the brilliantly re-imagined Gilded Goldbergs by Robin Holloway (recorded by The Micallef-Inanga Piano Duo on Hyperion CDA67360).

Sitkovetsky’s choice of string trio produces some fascinating results. With three instruments of broadly similar timbre, the contrapuntal and imitative lines come across with great transparency, especially in the canonic variations Nos 6, 9, 12, 15, 18, 21, 24 and 27, or in the fughetta (variation 10) and the closely argued counterpoint of variation 22, or, finally, in the triumphant imitation (based on folk tunes) of the Quodlibet that forms variation 30. Some ingenious reworking aims to produce an equivalent of the virtuosity required on the harpsichord: the playful energy of variation 3 puts continuous motion in semiquavers on the viola that are topped and tailed by violin and cello. In variation 5, Sitkovetsky resists the temptation to write a third part, while the two-part texture of variation 6 is cleverly redistributed between the three instruments—leaving it as a two-voice jig—as it is in variation 11. The elaborate hand-crossing and figuration of variation 14 are imaginatively re-conceived as a dialogue between the three string players. The almost orchestral variation 16, a kind of miniature French Overture, is particularly well suited to the rich sonorority of Sitkovetsky’s instrumentation. The use of pizzicato for the running semiquavers in variation 19 may cause some surprise, but it provides an attractive change of texture. The highly chromatic writing of variation 25 works well on string instruments, with the greater sustaining power of strings allowing dissonances to be relished to the full. The frenetic momentum of variation 26 is, again, cleverly redistributed among the trio, while in variation 28 there is more effective use of pizzicato, perhaps to mirror the sound of the harpsichord as well as to lighten the texture. The grand chords of variation 29 are also persuasively transcribed. Overall, the character of the music is altered in quite a subtle way from Bach’s original: one obvious difference is that the musical dialogue now emerges as real chamber music, and while this wasn’t what Bach had in mind when he wrote the Goldberg Variations, it certainly produces an exciting way of hearing the work anew.

from notes by Nigel Simeone © 2011

Track-specific metadata
Click track numbers opposite to select

Details for CDA67826 track 2
Variation 1: a 1 Clav.
Artists
ISRC
GB-AJY-11-82602
Duration
1'46
Recording date
12 October 2010
Recording venue
Concert Hall, Wyastone Estate, Monmouth, United Kingdom
Recording producer
Andrew Keener
Recording engineer
David Hinitt
Hyperion usage
  1. Bach & Sitkovetsky: Goldberg Variations (CDA67826)
    Disc 1 Track 2
    Release date: September 2011
   English   Français   Deutsch