By Peter Williams
Bach's astonishing Goldberg adaptations characterize a excessive aspect within the repertory of keyboard tune, really for the harpsichord. This booklet takes a close examine how those diversifications originated, specifically in terms of all Bach's ClavierÜbung volumes and past due keyboard works, what their really problematic plan is, what sort of impression they've got had, and the way their mysterious good looks has been created. This consultant to what used to be on the time the biggest and so much rigorously conceived unmarried paintings of keyboard song will entice scholars, performers and listeners.
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Additional info for Bach: The Goldberg Variations (Cambridge Music Handbooks) 2001
The smaller chorales, though not necessarily easier to play than the larger, could also have served as devotional music at home. Thirdly, the music itself ranges from quasi-Palestrinian counterpoint (stile antico) to quasi-galant chamber trios, from French and Italian idioms to traditional German-Lutheran counterpoint, and as such offered a range of stylistic models or lessons for any composer. And ﬁnally, the impeccable invertible counterpoint of the four Duetti and various trios, the two big-scale canons, and at least three distinct fugue-types (fughetta, ricercar, and a Well-tempered Clavier type) provide models of contrapuntal working superior to any handbook by any theorist.
One interesting possibility emerges from the similarity between the Hurlebusch pieces and those framing Clavier¨ubung III: Hurlebusch’s are in D major, and the question arises whether this was the original key – in intention or in fact – of the great Prelude and Fugue in E . These are, after all, organo pleno or Full Organ music of a kind seldom found in such a key as this before equal temperament. The Prelude’s unlikely passage in E minor would then be in D minor, and throughout both pieces, D major or minor ﬁts the hands better.
Var. 10 Var. 11 12/16 2 man. Var. 12 3/4 1 man. 4 voices 2 voices 3 voices ‘fughetta’ hand-crossing, duet canon inversus at the fourth Var. 13 3/4 2 man. 3 voices Var. 14 Var. 15 3/4 2/4 2 man 1 man. 2 voices 3 voices melodic, like a sarabande doubl´ee hand-crossing, duet canon inversus at the ﬁfth, minor 3/8 3/4 1 man. 1 man. 2 man. 1 man. 2–4 voices 2–3 voices 2 voices 3 voices ‘ouverture’, followed by stretto fugue hand-crossing, duet canon at the sixth, as a trio-sonata 1 man. 2 man. 1 man.