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Goldberg Variations

by Malcolm Proud

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about

Johann Sebastian Bach’s “Keyboard practice consisting of an aria with diverse varia- tions for two manual harpsichord” was published in 1741. According to Forkel, Bach’s first biographer, the work was written for the composer’s gifted pupil Johann Gottlieb Goldberg to play at night for his employer Count Keyserlingk, Russian Ambassador at Dresden. The Count suffered from insomnia.

The thirty variations are based on the bass rather than the melody of the Aria which is played before and after the set. They are divided into two equal halves, an Ouverture opening the second half. They are further divided into groups of three variations, making a total of ten groups. The third variation of each group is a canon with the exception of the Quodlibet which closes the set and makes use of German folksongs.

Most harpsichord music does not require a two-manual instrument.The exceptions amongst Bach’s work include the Italian Concerto, the French Overture and the Goldberg Variations. Although in variations 13 and 25 the use of the two manuals is to bring out the melody above its accompaniment, in the others it is to dif- ferentiate between the two voices which cross not only over but also through each other like two threads in a tapestry of sound.

The wealth of contemporary musical forms and genres which Bach incorporates into the set of variations is extraordinary. Apart from naming examples of Fughetta, Ouverture, Alla breve and Quodlibet, Bach added the indications al tempo di Giga to variation 7 and adagio to the amazingly chromatic variation 25 which like 15 and 21 is in the minor. With the exception of the canon at the ninth, all the canonic variations have a free bass part, but even this enters into the polyphonic argument rather than just sup- plying notes necessary to make good harmony. The canons at the fourth and fifth are by inversion.

— Malcolm Proud

The Irish harpsichordist and organist Malcolm Proud read music at Trinity College Dublin. Further keyboard studies followed in Copenhagen and with Gustav Leonhardt in Amsterdam. Since winning The Edinburgh International Harpsichord Competition in 1982 he has performed throughout Europe, North America and Japan. He has played as a soloist with the Orchestra of the Age of Enlightenment at London’s Wigmore and Queen Elizabeth Halls, and with the Gabrieli Players, the European Union Baroque Orchestra and the English Baroque Soloists.

credits

released June 1, 2001

Malcolm Proud: harpsichord, Cembalo, clavecin

Two Manual Harpsichord (1989) by Christopher Nobbs, after an anonymous late 17th century instrument in the Württembergisches Landesmuseum, Stuttgart. Harpsichord prepared by Phil Ridley.

Recorded by Nicholas Parker 3 - 5 July 2001 at the New Hall, Camphill Community, Ballytobin, Co.Kilkenny (Ireland)
Produced by Nicholas Parker and Maya Homburger Cover Painting by George Vaughan,“After the Rain” photographed by Dylan Vaughan Photograph of Malcolm Proud by Dylan Vaughan
Cover and interior design Anthony Hobbs
Introduction by Malcolm Proud, text by Brian Lynch

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Maya Recordings Oberstammheim, Switzerland

Barry Guy and Maya Homburger founded Maya Recordings in 1991 to take care of their desires to document the various projects that occupy their musical lives. So unusually
you will find Jazz and improvised musics alongside baroque masterpieces.
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