Bach: Goldberg Variations | Glenn Gould

Опубликовано 10 марта 2024, 12:00

Johann Sebastian Bach
Goldberg Variations, Op. 4, BWV 988

Piano: Glenn Gould
Live 1955

00:00 Aria
01:52 Variation 1
02:37 Variation 2
03:15 Variation 3, Canone all’Unisono
04:10 Variation 4
04:39 Variation 5
05:16 Variation 6, Canone alla Seconda
05:51 Variation 7
06:59 Variation 8
07:44 Variation 9, Canone alla Terza
08:22 Variation 10, Fughetta
09:05 Variation 11
09:59 Variation 12, Canone alla Quarta
10:56 Variation 13
13:06 Variation 14
14:05 Variation 15, Canone alla Quinta
16:23 Variation 16, Overture
17:41 Variation 17
18:34 Variation 18, Canone alla Sesta
19:20 Variation 19
20:03 Variation 20
20:51 Variation 21, Canone alla Settima
22:34 Variation 22, Alla breve
23:16 Variation 23
24:11 Variation 24, Canone all'Ottava
25:09 Variation 25
31:38 Variation 26
32:31 Variation 27, Canone alla Nona
33:21 Variation 28
34:32 Variation 29
35:32 Variation 30, Quodlibet
36:21 Aria da capo

The Goldberg Variations, BWV 988, is a musical composition for keyboard by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, it is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work.
On the title page, Bach specified that the work was intended for harpsichord. It is widely performed on this instrument today, though there are also a great number of performances on the piano.

Glenn Herbert Gould (1932–1982) was a Canadian classical pianist. He was among the most famous and celebrated pianists of the 20th century, renowned as an interpreter of the keyboard works of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and a capacity to articulate the contrapuntal texture of Bach's music.

Gould rejected most of the Romantic piano literature in favour of Bach and Beethoven mainly, along with some late-Romantic and modernist composers.

Gould was also a writer and broadcaster, and dabbled in composing and conducting. He produced television programmes about classical music, in which he would speak and perform, or interact with an interviewer in a scripted manner. He made three musique concrète radio documentaries, collectively the Solitude Trilogy, about isolated areas of Canada. He was a prolific contributor to music journals, in which he discussed music theory. Gould was known for his eccentricities, ranging from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and behaviour. He disliked public performance, and stopped giving concerts at age 31 to concentrate on studio recording and media.

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