Album insights
Bach's "Aria with Various Variations," known as the "Goldberg Variations," was written in 1742 for Count Hermann Karl von Keyserlingk, the Russian envoy in Dresden. It was designated as BWV988 in Bach's musical works catalog by Wolfgang Schmieder and first published by Balthasar and Schmid in Nuremberg.
These variations formed part four of a larger keyboard work, Bach's Clavierübung. Bach inherited this collective title from his predecessor Johann Kuhnau, adding the first six partitas (1731) for Part I, the "Italian Concerto" for Part II, and a third part (mainly for organ) featuring the "Saint Anne Fugue" and his "Giant Fugue" based on the chorale "We All Believe in One God."
Johann Sebastian Bach met the Count following a concert in 1746 at the Frauenkirche in Dresden. Subsequently, Keyserlingk assisted in Bach's appointment as "Composer at the Saxon Court." The Count was also the mentor of fourteen-year-old piano prodigy Johann Gottlieb (Theophilus) Goldberg, a student of Bach's eldest son, Wilhelm Friedemann.
In Johann Nikolaus Forkel's Bach biography, the circumstances surrounding the creation of the "Aria with 30 Variations" are described. Keyserlingk expressed a desire to Bach for pieces for Goldberg that would wistfully and cheerfully keep him company during sleepless nights. Enthralled by the variations, Keyserlingk rewarded Bach with a golden goblet filled with 100 louis d'or.
Many musicologists argue that the work was commissioned based on this story, while others disagree due to lack of conclusive evidence. In a contemporary document attributed to Johann Elias Bach, a cousin once removed from Bach (1705–1755), there is an account where the composer played the entire work on a new harpsichord before Count Keyserlingk and a group of guests.
Although the publisher had not yet released the "Aria with 30 Variations," the Count was so impressed that Bach promised to provide him with a copy immediately upon publication, leading some to believe the work was commissioned shortly thereafter. The original edition notably lacked any dedication.
In the same document by Johann Elias Bach, doubts are raised regarding the authorship of the elaborately adorned opening aria of the work. Anna Magdalena Bach, the composer's second wife, is said to have played it on her harpsichord shortly before Johann Sebastian inscribed it in his notebook. While the source of the aria is uncertain, its origins do not affect the essence of Bach's variations.
Of greater significance is how the structural form of the entire work emerges from this aria, deriving not just from its melody, but from the bass accompaniment and the 32-bar harmonic sequence. The only harmonic change occurs in the transition from major to minor, strategically placed in certain variations. Cadences in D major (bar 16), E minor (bar 24), and G major (bar 32) outline the thematic journey, appearing in all variations except those in the corresponding minor key (Nos. 15, 21, and 25), with E minor being replaced by E-flat major in bar 24.
The earliest variations date back to the mid-16th century. Spanish composer Antonio de Cabezón (circa 1510–1566) developed an introductory theme in his "Obras," while English musician Hugh Ashton (died 1522) is attributed with composing "My Lady Carey's Dompe," a set of variations on a ground bass. Organist Dietrich Buxtehude (1637–1707) likely wrote 32 variations titled "La Capriciosa," based on the tune "Kraut und Rüben haben mich vertrieben."
Bach's monumental work incorporates a canon every third variation, concluding with a quodlibet merging two contemporary popular tunes. This canonic structure reflects Johann Sebastian's vision, possibly inspired by the annual gatherings of the Bach family, where quodlibets were frequently sung.
Interposed between each third variation are duets, mainly lively in nature, and a three-part invention or fugue. In total, the work comprises nine canons, starting with a unison and progressing to larger intervals. The middle canons, set in the fourth and fifth, are inverted, while the final canon in the ninth introduces an independent bass without a third voice, forming complex three-part variations.
The non-canonical variations showcase contrapuntal complexity within a shared harmonic framework. Preceding each canon are generally lively toccatas. Beyond canons, non-canonical variations feature fughettas and passages in three to four voices, crafting a sequence of canons, inventions or fugues, and duets.
The Goldberg Variations undeniably pave the way for Bach's later keyboard works like "The Musical Offering," variations on "Vom Himmel hoch" (BWV769), and "The Art of Fugue."
Music critic Charles Rosen notes the elegance and worldly achievement of the Goldberg Variations, acknowledging the work's playful humor combined with some of Bach's most poignant passages. Ernst Tovey praised the variations in the 1930s, considering them the most brilliant purely instrumental work pre-Beethoven.
The debate over repeats has long been a hotly contested topic, influencing performances and interpretations of varying lengths. The era of vinyl records necessitated the omission of many repeats. Streamlined editions aiming for single discs (around 60 minutes) became the norm due to audience preferences for uninterrupted concerts lasting no more than 90 minutes.
While some argue that the true diversity of the Goldberg Variations can only be experienced with adherence to all indicated repeats, many concerts embellish these repeats significantly. Interpretative choices can alter articulation, dynamics, and structural connections in each repeated variation.
Pianist Tatiana Nikolayeva opted to omit repeats in Variations 7, 11, 13, 15, 25, and the concluding Aria as a middle ground approach.
The performance traditionally starts with the original G major Sarabande from Anna Magdalena Bach's notebook, which already hints at variation. Each subsequent variation is meticulously crafted, building upon intricate themes, canonic structures, and contrapuntal richness, leading to the joyful and fulfilling ending with the quodlibet.
Text by: Meckie Hellary