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The Goldberg Variations
Forkel, Bach's first biographer, who had first-hand information from Bach's sons, relates the now-famous story of Count Hermann Carl von Keyserlingk of Dresden, who frequently visited Bach in Leipzig for lessons in composition: apparently not a healthy man, the Count had trouble sleeping, and often asked his private harpsichordist, the 15-year old prodigy Johann Gottlieb (Theophil) Goldberg (1727-1756), to serenade him in the next room to help him fall asleep. During one visit in 1742, the Count requested Bach to compose some pieces "of a quiet and somewhat cheerful (sanften und etwas muntern) character" for this use, and Bach brought forth the Aria mit dreißig Veränderungen ("Aria with 30 variations", BWV 988) that have carried Goldberg's name into posterity. The Count, overwhelmed by the magnificence of the work, had Goldberg play them night after night. So impressed and delighted was he that he rewarded Bach with a golden goblet filled with 100 Louis d'Or.
Hardly soporific, the so-called "Goldberg" variations explore not only a vast emotional palette, from "quiet and happy" to reckless, explosive joy, quirky playfulness, intricate contemplation, and even deep tragedy, but a huge spectrum of compositional technique, almost comprising a compendium of current styles: a French overture, various canons, a fugue, a flute aria, and many other styles are illustrated. The whole is orchestrated into a coherent drama culminating in what seem to me ( BSG) a Crucifixion and subsequent Resurrection.
The basis of the "variation" is the Aria, a 32-measure sarabande in G Major, a delicately ornamented melody in 3/4 time over a one-note-per-measure bass that logically divides itself into four-measure phrases, largely three-note linear sequences building up to cadences on the fourth note. The Aria is played before and after the 30 variations, creating 32 movements of 32 fundamental bass-notes (sometimes in half-measures or double-measures) each, with each indicating repeats of both halves. Appearing in a collection Bach made in 1725 for his wife Anna Magdalena, the Aria is probably not his own composition; he most likely chose it for these variations on account of the unique potential implicit in its harmonic structure.
The item that is being "varied" upon, i.e., held constant as other things vary, is not the melody of the Aria , but rather its figured bass, that is, the bass line and the harmonies (chords) associated with it. The bass line does not always appear intact, but is present in outline and "feel" (i.e., this bass line is elaborated) in each variation. In three of the variations, the bass line is "reinterpreted" into G minor for dark, tragic effect.
Bach published the Aria mit 30 Veränderungen as Part IV of what he called his Clavierübung (clavier-practice), and it stands as a summary of all the keyboard music (other than organ music) and keyboard technique at that time and up to that time, and remains today one of the greatest monuments of the keyboard repertoire. Among its 30 variations lies the most technically challenging harpsichord music yet written. Its compositional wonders includes the appearance of nine canons (a contrapuntal technique where an extended melody accompanies itself offset by time) at expanding intervals from the unison to the ninth. The emotional scope and sweep, concision, incomparable mastery, and frequently "quiet and somewhat cheerful character" of the "Goldberg Variations" make this work an ideal early acquaintance for a newcomer seeking to discover J.S. Bach.
WEIMAR (second term): 1708-1717
Weimar was quite a small town with only 5000 inhabitants; yet Bach was to meet some very cultured people here. Not least was his employer, the Duke of Sachsen-Weimar, one of the most distinguished and cultured nobles of his time.
Bach's two-fold position as member of the chamber orchestra and as organist to the Court offered him many opportunities for improvement.
The Court Orchestra consisted of about 22 players: a compact string ensemble, a bassoon player, 6 or 7 trumpeters and a timpanist. Bach's function in the orchestra was mainly as a violinist, however he also played the harpsichord and occasionally wrote or arranged some of the music. As was the custom in most 18th Century Courts, the musicians also spent some of their time employed in other household duties about the Court.
In 1714 Bach became the leader of the orchestra, and was now second only to the old and frail Capellmeister Johann Samuel Drese, whose duties he was gradually taking over.
As Court organist, Bach had succeeded Johann Effler, a musician of some standing. The organ was new and not quite as large as the one at Arnstadt. After a few years, Bach declared that it was inadequate and should be rebuilt. It was in fact rebuilt at great expense according to his plans: proof of the high regard the Court had for his capabilities as organist and expert on organ construction.
On a visit to Halle in 1713, during which he gave a trial cantata (probably BWV 21), he was invited to become organist in succession to Zachau, a composer well-known, and celebrated as Handel's early teacher. However, the conditions and salary were not sufficient for his growing family, so he was obliged to refuse the post.
On a visit to Dresden, Bach was invited to compete in a contest with the visiting French organist, Louis Marchand, considered to be one of the best in Europe. But, on the day appointed for the contest, Marchand decided to withdraw discreetly by taking the fastest coach available back to France. And so Bach gave an impressive solo performance before the assembled audience and referees, establishing himself as the finest organist of the day.
Bach made some very good friends at Weimar, among whom was the eminent philologist and scholar Johann Matthias Gesner, who expressed with great eloquence his admiration for the composer's genius. Bach was also a frequent visitor to the nearby 'Rote Schloß', the home of the former Duke's widow and her two music-loving sons. Here the interest was in the new Italian style of music which was then becoming the rage of Europe, one of the chief exponents being the Venetian composer Vivaldi. Bach and his cousin Johann Georg Walther transcribed some of the Italian instrumental concertos for keyboard instruments.
During 1717 a feud broke out between the Duke of Weimar at the 'Wilhelmsburg' household and his nephew Ernst August at the 'Rote Schloß'. Consequently musicians of the first household were forbidden to fraternize with those of the second. Bach did his best to ignore what was, after all, merely an extension of a private quarrel. But the atmosphere was no longer so pleasant. Added to this, the ancient Capellmeister then died, and Bach was passed over for the post in favor of the late Capellmeister's mediocre son. At this, Bach was bitterly disappointed, for he had lately been doing most of the Capellmeister's work, and had confidently expected to be given the post.
Through the help of Duke Ernst August, Bach was introduced to the Court of Anhalt-Cöthen, and as a result he was offered the post of Capellmeister, which he accepted. This infuriated the Duke of Weimar, so that when Bach put in a polite request for his release, he was arrested and put in the local jail. However, after a month, he was released and given reluctant permission to resign his office. During this enforced rest, Bach typically used his time wisely - that is musically - and prepared a cycle of organ chorale preludes for a whole year, published later as the 'Orgelbüchlein'.
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