Download Bach: The Goldberg Variations (Cambridge Music Handbooks) by Peter Williams PDF

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.

Show description

Read Online or Download Bach: The Goldberg Variations (Cambridge Music Handbooks) 2001 PDF

Best music books

When Giants Walked the Earth: A Biography of "Led Zeppelin"

They have been 'the final nice band of the sixties; the 1st nice band of the seventies'; they rose, slightly unpromisingly, from the ashes of the Yardbirds to turn into one of many biggest-selling rock bands of all time. Mick Wall, revered rock author and previous confidant of either web page and Plant, unflinchingly tells the tale of the band that wrote the rulebook for on-the-road extra - and at last paid the associated fee for it, with catastrophe, drug habit and dying.

The Wire, Issue 13 (March 1985)

At the twine: opposed to The Grain
Kenneth Ansell

Live twine: Stockhausen competition, Thessaloniki competition, Kenny Clare profit, David Thomas/Lindsay Cooper/ Chris Cutler & Ivor Cutler, George Coleman
Max Harrison, Steve Lake, Dick Knowles, Kenneth Ansell, Brian Case

Sue Steward

On The list: Wires consultant To Bargains
Jeremy Crump & Alan Ross

Musa Suso
Charles De Ledesma

Charlie Parker exact Feature
Brian Priestley, Charles Fox, Jeff pace, Greg Murphy, Brian Davis, Keith Shadwick, Stan Britt

Great Recordings: Peter Brotzmann's "Machine Gun"
Steve Lake

Soundcheck: Guitar narrow, McLaughlin, Rollins, United Jazz & Rock Ensemble, Waldron Etc

Recent Releases
Brian Priestly & David Ilic

A Theory of Harmony: With Questions and Exercises for the Use of Students

The British composer John Stainer (1840-1901) was once organist at St Paul's Cathedral from 1872 to 1888, and in 1889 grew to become Professor of tune at Oxford. during this 3rd version of A thought of concord he ceased to name it a concept based at the tempered scale, as he had formerly. He wrote within the Preface that he now believed the speculation to be completely acceptable to the method of simply intonation.

Additional info for Bach: The Goldberg Variations (Cambridge Music Handbooks) 2001

Sample text

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.

Download PDF sample

Rated 4.60 of 5 – based on 47 votes