Definition: Aria - a musical composition, for a solo voice with accompaniment, characterized by its lyrical and expressive qualities.

Tales of the Origin

Bach's Goldberg Variations hold a special place not just for me, but for the musical world as a whole, a summit that nearly all significant pianists have attempted to conquer over time. A piece that continues to perplex us to this day with its timeless beauty.

In 1741, a new work by Johann Sebastian Bach was published by the Nuremberg engraver Balthasar Schmid: "Aria mit verschiedenen Veraenderungen vors Clavizimbal mit 2 Manualen Denen Liebhabern zur Gemüths-Ergetzung verfertiget." Later, this work was given the more compact and pretty title of the Goldberg Variations.

The origins of the name are linked to the circumstances surrounding its creation, at least if we believe Johann Nikolaus Forkel, Bach's first biographer. According to Forkel's 1802 publication, the Goldberg Variations were dedicated to the former Russian envoy at the Saxon court, Count Kaiserling.

Restless Nights

The Count suffered from frequent illnesses and sleepless nights. Johann Gottlieb Goldberg, the Count's private musician, who lived in his house, had to spend the nights in a neighboring room and play something for him during his sleepless nights when he was haunted by his demons. Once, the Count expressed to Bach that he would like to have some keyboard pieces for his Goldberg that would be gentle and somewhat lively, so as to bring him some solace during his sleepless nights. The Variations accordingly, bear their popular name after their presumed first performer. The source of Forkel's story remains unknown. It is possible that Bach's eldest sons, who no longer lived in Leipzig at the time of the work's creation, relayed the story to him. However, various objections have been raised against this account: Why did Bach not dedicate the work to Kaiserling as would be custom? Did Bach truly entrust a composition of this technical difficulty and expressive depth to his student Johann Gottlieb Goldberg, who was only 14 years old at the time of publication?

While these objections do cast doubt on Forkel's narrative, they do not immediately dismiss it as mere invention as is often the case with old stories. The technical and interpretative challenges presented in some variations surpass what was customary at the time—although it is worth noting that many variations are not excessively difficult. Should we not expect anything less from a work that Bach included as the fourth part of his Clavier-Übung? Forkel's account has often been distorted in a mocking manner, suggesting that the Count might have ordered music to fall asleep to.

Even Glenn Gould, long regarded as the best interpreter of the work, read from Forkel's report that the variations were ordered as soothing sleep aids. In fact, Forkel's account suggests the opposite, as the Count requested some keyboard pieces so that he could be cheered up during his sleepless nights. Since the piece is split into 31 different pieces (the 32. is a repetition of the first aria) each with a unique character. I personally see no reason why it should not be able to do both.

Autograph of the aria, the first and last piece of the Goldberg variations

Beauty in Structure

The Count's request can be interpreted as having a mythical-biblical dimension: Whenever the evil spirit from God came on Saul, David would take up his lyre and play. Then relief would come to Saul and he would feel better, and the evil spirit would leave him. The account from the 16th chapter of the First Book of Samuel was considered a central source for understanding the emotional effect of music during the Baroque period. Musicologist Rolf Dammann summarizes in his comprehensive study on the concept of music in the German Baroque: In particular, melancholy, madness, and anger were countered by effective forces through music.

The Goldberg Variations though sounding complex, are a work of simplicity and symmetry, as in Bach's time its ability to entertain the mind was valued. It features many ornaments, that leave much welcomed freedom for the pianist. The Aria, a graceful Sarabande that makes time stand still, already exhibits the gentle and somewhat lively character desired by the Count. These characteristics reappear in various variations. For Bach, however, the emotional impact of music does not rely solely on the composed effect. Instead, it is rooted in analogies ordered by measure, numbers, and nature. According to superstitious Baroque thinking, musical intervals possess the same numerical relationships found in astronomy and nature.

The 30 variations are arranged in groups of three: Within each group, the final variation is always a canon, with the interval of the canon voice increasing from the unison to the ninth. The last group concludes with the famous Quodlibet, where Bach weaves two folk song melodies together in counterpoint. On the other hand, the second variation of each group is often highly virtuosic, with hands frequently crossing over each other, necessitating the use of the second manual of the harpsichord.

The first variation of each group is typically a character variation. For example, Variation 16, as the first piece in the second half of the work, takes on the style of a French overture with a slow, dotted-rhythm-laden first section and a rapid, fugue-like second part. Naturally, Bach handles this scheme with great diversity, developing the distinctive traits of one variation into the virtuosic variation that follows or allowing playful improvisation to take over toward the end. Another hidden symmetry can be found along the middle. The 15th and the 16th variation mirror the two-part form of the bass line.

The piece carries many secrets but one of them being the the hidden foundation of the Goldberg Variations. It hides in the base line of the aria. The first eight notes of this bass were already a familiar formula since Monteverdi's time and were popular throughout Europe as an ostinato bass for variation works. This 32 note pattern builds the foundation upon which all following variations rest and can be found if various different forms throughout the piece.

Aria bass - 32 notes that form the foundation for all variations

Bass without repetitions

Interpretation

The Goldberg Variations are written for a two-manual harpsichord which is very different from today's pianos but this has never stopped anyone. The challenges of the Goldberg Variations became opportunities for Glenn Gould who produced two incredibly iconic recordings, one in his youth at the age off 22 and one much later. In his second recording in 1982, Gould played slower, with more composure and divine voicing. His interpretation became even more idiosyncratic—a performance so awe-inspiring that hardly any other pianist dared to approach the work.

Other outstanding interpretations have emerged from Bach's complete recordings by András Schiff, Murray Perahia, Evgeni Koroliov, and Angela Hewitt. Notable was Martin Stadtfeld's debut recording in 2003, with its controversial modifications to the score, which went against many conventions. Lang Lang even documented his journey of interpreting the Goldberg Variations in a film. Perhaps this never ending longing for finding the perfect interpretation demonstrates how deeply this music reaches into our soul, how profoundly it resonates within the innermost being of the individual.

The Goldberg Legacy

The Goldberg Variations, a testament to Bach's genius, continue to bewitch us. Bach's masterpiece transcends the boundaries of time, inspiring generations with its emotional depth and soothing melodies. The Goldberg Variations will always stand out in the history of music, inviting us to delve deeper into the mysteries of its structure, symbolism, and hidden messages. While we explore its many layers, it never fails to reminded us of its ability to spark awe. May its secrets continue to inspire musicians and listeners for ages to come.