Goldberg Variations

:For the novel by Nancy Huston, see The Goldberg Variations (novel).

The variations

Below is a list of the variations with brief descriptions and some comments by writers and performers. It should be noted that the piece has been played in a wide variety of ways, and there are a range of views on the work, not all of them represented here.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

The work was composed for a two-manual harpsichord (see keyboard). Variations 13, 14, 17, 20, 23, 26, and 28 are specified in the score for two manuals, whilst variations 5 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. All the variations are in G major, apart from variations 15, 21, and 25. Many of the variations are binary in form, that is, an A section followed by a B section - it is generally up to the performer whether to repeat either, both, or none of these sections.

Related Topics:
Harpsichord - Keyboard - Binary

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Aria

The Aria (a sarabande) is intended to provide the thematic material for variation over the entire set of variations. Unlike "conventional" variations, instead of the melody as the subject of variations, the bass is instead.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Peter Williams, writing in Bach: The Goldberg Variations (see reference below), comments that this is not the theme at all, but actually the first variation (a view emphasising the idea of the work as a chaconne rather than a piece in true variation form).

Related Topics:
Peter Williams - Chaconne - Variation form

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 1

This sprightly variation contrasts markedly with the slow, contemplative mood of the theme. Interestingly, the rhythm in the right hand forces the emphasis on the second beat, giving rise to syncopation from bars 1 to 7. Hands cross at bar 13 from the upper register to the lower, bringing back this syncopation for another two bars. In the first two bars of the B part, the rhythm mirrors that of the beginning of the A part, but after this a different idea is introduced.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Williams sees this as a sort of polonaise. The characteristic rhythm in the left hand is also found in Bach's Partita in E major for solo violin as well as the Prelude in A flat from Book I of the Well-Tempered Clavier.

Related Topics:
Polonaise - Partita in E major - Violin - Well-Tempered Clavier

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 2

Almost a pure canon. Each section has an alternate ending to be played on the first and second repeat.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 3

The first of the regular canons. This variation is at the unison (that is, the follower begins on the same note as the first).

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

This variation, with its sets of triplets, gives an overall feeling of fast pace.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 4

A dance (a passepied) with the same pattern in almost every bar (sometimes inverted). Each section has an alternate ending to be played on the first and second repeat.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 5

A rapid running line accompanies another line with very wide leaps. This is the first of the hand-crossing, two-part variations. The Peters edition of the Goldberg Variations suggests with either one or two manuals.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Glenn Gould and others play this variation with exceptional and precise speed, whilst Kenneth Gilbert in his harpsichord version of the work, interprets this at a much more relaxed tempo.

Related Topics:
Glenn Gould - Kenneth Gilbert

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 6

Canon at the second (that is, the second part comes in a major second higher than the first). The harpsichordist Ralph Kirkpatrick describes this as having "an almost nostalgic tenderness" - this is probably due to the separation of a second between follower and leader. Each section has an alternate ending to be played on the first and second repeat.

Related Topics:
Major second - Ralph Kirkpatrick

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 7

This often used to be played as a siciliana (a slow, stately dance) but when Bach's own copy of the Goldberg turned up, it was found he had marked it al tempo di giga (a much livelier dance). The dotted rhythmic pattern of this variation is very similar to that of the gigue of the second French suite.

Related Topics:
Siciliana - Giga - French suite

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 8

Another two-part variation. Williams compared this to fireworks. This may be due to several features of this variation, viz.: having several bars with eleven semiquavers (in 3/4 time), leaving the last out, leading the melodic line articulated into short phrases (however, phrasing marks are omitted in the Peters edition) ending with a high note in the upper register, suggesting it be cut a little shorter; large leaps in the melody, at bar 9 we have a leap from B below middle C to a B two octaves higher, at bar 10, we have a leap from A above middle C to an A an octave higher, and at bar 11 we have a leap from G above middle C to a G an octave higher, a flourish in the end of the A part in demisemiquavers. The B part has similar features to the A part.

Related Topics:
Fireworks - Demisemiquaver

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 9

Canon at the third.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 10 Fughetta

A four-part fugue, with a four-bar subject decorated with ornaments: a lower mordent on the first minim, followed by an upper mordent on the following dotted quaver, and an upper mordent on the fourth bar of the subject. This subject enters in the bass commencing on the G below middle C- following this is an answer, inverted, in the alto voice, on the B above. The soprano voice has the same answer as the alto, on the G two octaves above middle C, finishing with the subject again, on A, in the tenor. The B part changes key and the subject material slightly.

Related Topics:
Fugue - Ornament

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 11

A two-part variation largely made up of scale passages and arpeggios. Often played at a very quick tempo.

Related Topics:
Scale - Arpeggio

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 12

Canon at the fourth. The answer is inverted (that is, it is upside-down). The left hand introduces an accompaniment in the A part in repeated crotchets, in bars 1, 2, 3, 5, 6, and 7. In the B part however, this repeated note motif appears only slightly in the first bar, with two Ds but then a C, and also reappears modified, in bars 22 and 23. The B part changes key also and introduces some acciaccaturas in bars 19 and 20, introducing a different mood.

Related Topics:
Inverted - Acciaccatura

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 13

A highly decorated sarabande (a slow dance in 3/4 time).

Related Topics:
Sarabande - Time

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 14

A brilliant and virtuosic variation, with many trills and other rapid ornamentation. Specified for two manuals, we have a large jump from the G two octaves below middle C to the G two octaves above it in the first bar. Following it is further large jumps between registers.

Related Topics:
Trill - Ornament

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 15 Andante

This is a canon at the fifth, in contrary motion with the answer inverted. This is the first of the variations in a minor key, and is in sharp contrast to the ecstatic mood of the previous variation, thus marking the "turning point" of the piece as a whole.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 16 Ouverture

The set of variations fall in two "halves", consisting of the first fifteen, and the following fifteen. The division is clearly marked by a grand overture, marked "Maestoso" (majestic) in the Peters edition, with the overture commencing with a particularly emphatic opening and closing chords. The overture, specifically, a French overture, consists of a slow prelude with dotted rhythms dramatically contrasted with a following contrapuntal section marked "Allegretto". Unlike the previous variations where the B part is somewhat like a variation on the A part, the contrast is more marked here, with the division of the slow, majestic prelude and the faster, livelier overture lying halfway throughout the variation, after the sixteenth bar.

Related Topics:
Overture - Chord - French overture - Rhythm - Contrapuntal

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 17

Williams sees echoes of Antonio Vivaldi and Domenico Scarlatti in this variation.

Related Topics:
Antonio Vivaldi - Domenico Scarlatti

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 18

Canon at the sixth.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 19

The first seven bars of this variation set out the bass theme one which the entire set is built with particular clarity. The soprano voice, detached gently with accenting, gives the entire variation an extremely tender feeling.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 20

Another virtuosic variation, again contrasting with the quiet mood of the previous variation, involves rapid hand-crossing on a piano, due to it being marked for two manuals. The left and right hands alternate, with the left playing quavers in sequence, with the right plucking semiquavers, a semiquaver rest after each quaver, which continues to bar 8, with turn-like runs in the right hand extending for two bars and then exchanging to the left hand.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 21

This is a canon at the seventh, reminiscent of a chorale setting. This is the second of the variations in the minor key. In comparison to the first variation in the minor key, the pace is picked up slightly, with it being marked "Andante con moto" (slow, with motion) in the Peters edition.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 22 Alla breve

Like variation 2, this is almost as fully canonic as the formal canons, with it being characterised by sequences of thirds, such as in 8, 11-14, 21-22, and the final.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 23

Another lively virtuosic variation for two manuals. The melodic line, initiated in the left hand with a sharp striking of the G above middle C and then sliding down from the D above to the A is offset by the right hand, imitating the left at the same pitch, but a quaver late, for the first three bars. The direction changes after this, sliding upwards. We then alternate between hands in short bursts until the last few bars from the end of the A part. The B part starts with this similar alternation in short bursts again, then leads to a dramatic section of alternating thirds between hands.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Williams, marvelling at the emotional range of the piece, asks "Can this really be a variation of the same theme that lies behind the adagio no 25?"

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 24

Canon at the octave. The canon is answered both an octave below and an octave above.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 25

Marked adagio in Bach's own copy. Expressing a widely shared opinion, Williams wrote that "the beauty and dark passion of this variation make it unquestionably the emotional high point of the work." One of three variations (along with numbers 15 and 21) to be in a minor key, it generally lasts longer than five minutes in performance. The harpsichordist Wanda Landowska dubbed this variation a "black pearl".

Related Topics:
Adagio - Wanda Landowska

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 26

Underneath the rapid arabesques, this variation is basically a sarabande. There is a notable contrast again with the introspective and passionate nature of the previous variation, here we have joyous release. Widely known as the "quicksilver" variation.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 27

Canon at the ninth. The only canon where two manuals are specified. This canon is also special in being pure canon without a bass line.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 28

This variation is marked by brilliant trills alternating between the left and right hands. The right hand picks out three notes per bar, forming a melodic line above the trills below. Following this is a section with both hands playing in contrary motion in a melodic contour marked by semiquavers, then leading to the trills in both hands, mirroring each other. The B section starts with the contrary motion idea, leading back to the trills, and the conclusion of the variation.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Williams compared this variation, like the eighth, to fireworks.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 29

A heavier and rather grand variation, with weighty chords alternating with a section of subsequent solo descending arpeggios, adds an air of resolution after the lofty brilliance of the previous variation.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Variation 30 Quodlibet

A cross between a chorale and a medley of popular tunes: "I Have So Long Been Away From You" and "Cabbage and Turnips Have Driven Me Away".

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Bach's biographer Forkel explains the Quodlibet by invoking a custom observed at Bach family reunions (Bach's relatives were almost all musicians):

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

:"As soon as they were assembled a chorale was first struck up. From this devout beginning they proceeded to jokes which were frequently in strong contrast. That is, they then sang popular songs partly of comic and also partly of indecent content, all mixed together on the spur of the moment. ... This kind of improvised harmonizing they called a Quodlibet, and not only could laugh over it quite whole-heartedly themselves, but also aroused just as hearty and irresistible laughter in all who heard them."

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Forkel's anecdote (which is likely to be true, given that he was able to interview Bach's sons), suggests fairly clearly that Bach meant the Quodlibet to be a joke, and many listeners today hear it as such.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Some feel that the joke is in fact about the variation themselves, in effect that "you" in this instance was the theme, the Aria, and the quodlibet laments and anticipates the return of the Aria.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Aria da Capo/Reprise

Written as a note for note repeat of the aria, although it is often performed in quite a different way, often more wistfully. Williams writes that "the Goldberg's elusive beauty ... is reinforced by this return to the Aria. ... no such return can have a neutral Affekt. Its melody is made to stand out by what has gone on in the last five variations, and it is likely to appear wistful or nostalgic or subdued or resigned or sad, heard on its repeat as something coming to an end, the same notes but now final."

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

The return of the Aria adds to the symmetry of the work, possibly even hinting at a cyclic nature of the entire work - a round trip.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~