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Variations on Bach Goldberg
When Bach's keyboard music Variations on Goldberg is mentioned, most people first think of the legendary performance of it by the late Canadian pianist glenn gould. Just as this variation begins with a theme and ends with the same theme after 30 variations, Gould's recording career began with the recording of Goldberg's variation of 1955 and ended with the re-recording of this song of 198 1, completing a great life cycle. Many people asked Gould, "Who do you like best to play Bach?" Every time Gould's answer is always: "turek (19 14~), a female pianist." Who is this strange name? I'm afraid not many people know.
There is a saying that Goldberg Variations were first popularized by Gould. Actually, it's not. Landowska (1879~ 1959), a famous harpsichord player, is a veritable pioneer. It was her performance and the famous record made by 1933 that made this piece spread gradually and was accepted by pianists and the public. Turek was also one of the first pianists to play Goldberg's Variations. As early as 1930s, this work was included in her concert repertoire. At that time, Gould was just born Because there are few speed expression marks on the original music score of the work, which leaves a lot of room for players to play freely, so each player's handling methods are very different. Since the 1930s, hundreds of album versions have appeared, which shows their popularity. The most famous of these are two versions of harpsichord by Landowska (EMI and RCA), two versions by Gould (Sony) and the version by Hungarian pianist Schiff (Dika).
According to the earliest biography of Bach, The Life and Works of the Genius Bach (published by Volker 1802), Variations on Goldberg was written for Count Kesselring, who suffered from insomnia, just to help him spend a long night and alleviate the pain of insomnia. "Gothenburg" is the name of the harpsichord player around the count and a student of Bach. Variations consist of a theme and its 30 variations. After 30 variations, the theme reappears and a cycle is successfully completed. Fascinated by this piece of music, the count generously gave Bach 100 gold Louis, equivalent to Bach's salary for one year. Variations on Goldberg was not named by Bach, but by the biographer Foucault after Bach's death. Bach himself called it "a keyboard exercise consisting of an aria and its variations, for a harpsichord with two keyboards" (usually played on the piano now).
This work looks like an ordinary variation, but it is actually carefully arranged. Its variations are all based on the 32-bar bass line of the theme (aria), which is exactly the total number of paragraphs of the work (30 variations plus the first and second themes). Even more amazing is that the number of notes in the theme bass line is also 32! Among the 30 variations, most variations are 30 bars in length. Variation 3,9,21,30 is half of them (16). The only exception is the variant 16. This is a French overture with 47 bars.
With 16 variation as the boundary, 30 variations can be divided into two groups. The second group is obviously more complicated than the first group. That is to say, music becomes more and more complicated, until finally it suddenly returns to a calm and simple theme, giving people a wonderful feeling of "gorgeous and extremely dull". What's even more amazing is that from the 3rd, 6th, 9th, 12 variation to the 27th variation, every third song has a shot (strict counterpoint imitation, such as the common rotation in chorus). The interval between these guns gradually expanded, from the same gun (variation 3) to 9 guns (variation 27). Such well-conceived works are extremely rare. Interspersed in these cannon songs are some relatively free variations, some of which are technically difficult two-tone discs, some of which are similar to Tokata, some of which are like small fugues (variations 10), some of which are dance music styles (the fourth variation is Paspielle and the seventh variation is jig), and some of which are ancient concerto forms. Variant 30 is particularly striking. It is like a musical joke, interwoven with the melody and aria theme of two folk songs (I haven't been with you for a long time and cabbage and radish drive me away).
Although Gould's Variations on Goldberg is very attractive, it is undeniable that it bears Gould's personal imprint and is not very pure Bach style. Compared with this, turek, an American female pianist, is obviously more in line with Bach's original intention. No wonder Gould also praised her. Turek, 85, has been famous for playing Bach's works for more than 60 years. She was once praised as "the priestess of Bach's music" by the famous music critic Harold Schoenberg. It's a pity that all her previous records were produced by small companies, and they were not seen in China, so they were very famous. In fact, she is probably the pianist who recorded Goldberg's variations the most times and played for the longest time (more than 60 years).
Like many pianists, turek gradually entered a calmer and deeper sublimation realm in his later years. Every note, every variation is handled by her very clearly and with great dignity. Because she strictly abides by Bach's repetition marks (many pianists omit the repetition), she plays for longer than most versions. In terms of sensitive touch and pure sense of style, we don't feel that the performer is an 84-year-old man at all. This is a stable and restrained, quiet and far-reaching interpretation. As she said, "I never regard this work as a dazzling skill performance." It is the experience of life. "Now let's listen to turek, the first female conductor in New York Philharmonic, a professor at Juilliard and the priestess of Bach, and experience the colorful life in Goldberg's Variations.
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