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… Once the Count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. The Count was often ill and had sleepless nights. we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The tale of how the Goldberg variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel:
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They form a pivotal point in Bach’s work, being the first in a series of more abstract, theoretically oriented works which are typical of the last ten years of his life and include the Canonische Variaties, the Musicalisches Opfer and Die Kunst der Fuge. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. First published in 1741, the work is considered to be one of the most important examples of variation form. The Goldberg Variations, BWV 988, is a work originally for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. As Bach himself transcribed many of his own works and those of others, I would like to hope that he would find this question to be interesting and the results to be surprising. If the need for clarity of line and precision of attack is respected, the inherent musicality contained in the work should be evident, even in this new form. In general, even in the slowest movements, the attacks must take precedent over all other elements of performance. To find something akin to the precise, clearly defined attacks of the harpsichord, precise articulation and clarity of sound must be the first priority. Bach did indeed know of the Piano-forte and played one of the first instruments produced, but it would seem that he did not care much for this new instrument. In this version for Saxophone Quartet, it is important to remember that Bach was writing for the harpsichord and not for the Piano-forte.
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The first edition also carried the following title: « Clavierübung, consisting of an Aria with diverse variations for the Harpsichord with two manuals composed for music lovers to refresh their spirits by J. No manuscript for the Goldberg Variations exists, only a first edition corrected in the hand of Bach which contains certain tempo indications and other markings. E Bach, Bach’s son and the son might have asked his father to write these works for his brilliant student. It would seem that this story is perhaps more of a legend than anything else, as no goblet was found in Bach’s estate at the end of his life and no documented proof of this story has been found. For this commission, Bach was to receive the largest fee of his life, a hundred louis d’or in a golden goblet. It would seem that a certain Count Keyserlingk, the Russian Ambassador to the Court of Dresden, had difficulty sleeping and asked Bach to compose a work which his protégé, a harpsichord virtuoso by the name of Goldberg, could play in a salon near his bedroom to help him sleep in the evening. The story of how the work came to be written has to come to us through Bach’s first biographer, Johann Nikolaus Forkel in 1805, seventy-five years after the death of Bach. As a sort of musical « initiation », it has become a work which sparks the imagination and which creates an atmosphere all it’s own. The initial Aria, which seems to be rather trite and banal at the beginning of the work, is magnified through these transformations and the da capo at the end brings us back to the beginning, which has been changed by the musical journey itself. It is his only work which uses the form of variations and through three series of ten variations each, it explores a myriad of musical genres and styles. The Aria with 30 variations which form the work which is known as the « Goldberg » variations is one of the greatest works of Bach.