It's at least as much fun as listening to both a young and a mature Glen Gould play Bach's Goldberg Variations on his piano. Catrin Finch nailed it on this masterwork, and you will find validation of your love of the universal language every time you listen/5(35). Catrin Finch Catrin Finch - unveils the most exciting project of her remarkable career - JS Bach Goldberg Variations, BWV arranged and edited for the harp. Buy this album now CD: £ + p&p Catrin Finch Profile & index of recordings and sheet music. Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch:Var. 18 Canone alla Sesta a 1 Clav. 3. Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for String Trio by Dmitry Sitkovetsky:Var. 20 a 2 Clav.
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Bach: Goldberg Variations for String Trio. Trio ZilliacusPerssonRaitinen. Caprice Records. Haskell Small. Bach: The Goldberg Variations [Vanguard]. The Italian type of hand-crossing such as Aria - Catrin Finch - Bach* - Goldberg Variations (CD frequently found in the sonatas of Scarlatti is employed here, with one hand constantly moving back and forth between high and low registers while the other hand stays in the middle of the keyboard, playing the fast passages, Album).
The sixth variation is a canon at the second: the follower starts a major second higher than the leader. The piece is based on a descending scale and is in 3 8 time. The harpsichordist Ralph Kirkpatrick describes this piece as having "an almost nostalgic tenderness". The variation is in 6 8 meter, suggesting several possible Baroque dances. Inwhen scholars discovered Bach's own copy of the first printing of the Goldberg Variationsthey noted that over this variation Bach had added the heading al tempo di Giga.
But the implications of this discovery for modern performance have turned out to be less clear than was at first assumed. In his book The Keyboard Music of J. Bach  the scholar and keyboardist David Schulenberg notes that the discovery "surprised twentieth-century commentators who supposed gigues were always fast and fleeting. This kind of gigue is known as a "Canary", based on the rhythm of a dance which originated from the Canary islands.
He concludes, "It need not go quickly. The pianist Angela Hewittin the liner notes to her Hyperion recording, argues that by adding the al tempo di giga notation, Bach was trying to caution against taking too slow a tempo, and thus turning the dance into a forlane or siciliano.
She does however argue, like Schulenberg, that it is a French giguenot an Italian giga and does play it at an unhurried tempo. This is another two-part hand-crossing variation, in 3 4 time. The French style of hand-crossing such as is found in the clavier works of Francois Couperin is employed, with both hands playing at the same part of the keyboard, one above the other.
This is relatively easy to perform on a two-manual harpsichord, but quite difficult to do on a piano. Most bars feature either a distinctive pattern of eleven sixteenth notes and a sixteenth rest, or ten sixteenth notes and a single eighth note. Large leaps in the melody occur. Both sections end with descending passages in thirty-second notes. This is a canon at the third, in 4 4 time.
The supporting bass line is slightly more active than in the previous canons. Variation 10 is a four-voice fughetta, with a four-bar subject heavily decorated with ornaments and somewhat reminiscent of the opening aria's melody.
The exposition takes up the whole first section of this variation pictured. First the subject is stated in the bass, starting on the G below middle C. The answer in the tenor enters in bar 5, but it's a tonal answer, so some of the intervals are altered. The soprano voice enters in bar 9, but only keeps the first two bars of the subject intact, changing the rest. The final entry occurs in the alto in bar There is no regular counter-subject in this fugue. The second section develops using the same thematic material with slight changes.
It resembles a counter-exposition: the voices enter one by one, all begin by stating the subject sometimes a bit altered, like in the first section. The section begins with the subject heard once again, in the soprano voice, accompanied by an active bass line, making the bass part the only exception since it doesn't pronounce the subject until bar This is a virtuosic two-part toccata in 12 16 time.
Specified for two manuals, it is largely made up of various scale passages, arpeggios and trills, and features much hand-crossing of different kinds.
This is a canon at the fourth in 3 4 time, of the inverted variety: the follower enters in the second bar in contrary motion to the leader. In the first section, the left hand accompanies with a bass line written out in repeated quarter notes, in bars 1, 2, 3, 5, 6, and 7.
This repeated note motif also appears in the first bar of the second section bar 17, two Ds and a Cand, slightly altered, in bars 22 and In the second section, Bach changes the mood slightly by introducing a few appoggiaturas bars 19 and 20 and trills bars 29— This variation is a slow, gentle and richly decorated sarabande in 3 4 time.
Most of the melody is written out using thirty-second notes, and ornamented with a few appoggiaturas more frequent in the second section and a few mordents. Throughout the piece, the melody is in one voice, and in bars 16 and 24 an interesting effect is produced by the use of an additional voice.
Here are bars 15 and 16, the ending of the first section bar 24 Album) a similar pattern :. This is a rapid two-part hand-crossing toccata in 3 4 time, with many trills and other ornamentation. It is specified for two manuals and features large jumps between registers. Both features ornaments and leaps in the melody are apparent from the first bar: the piece begins with a transition from the G two octaves below middle C, with a lower mordent, to the G two octaves above it with a trill with initial turn.
Bach uses a loose inversion motif between the first half and the second half of this variation, "recycling" rhythmic and melodic material, passing material that was in the right hand to the left hand, and loosely selectively inverting it. Contrasting it with Variation 15, Glenn Gould described this variation as "certainly one of the giddiest bits of neo-Scarlatti-ism imaginable. This is a canon at the fifth in 2 4 time. Like Variation 12, it is in contrary motion with the leader appearing inverted in the second bar.
This is the first of the three variations in G minor, and its melancholic mood contrasts sharply with the playfulness of the previous variation. Pianist Angela Hewitt notes that there is "a wonderful effect at the very end [of this variation]: the hands move away from each other, with the right suspended in mid-air on an open fifth.
This gradual fade, leaving us in awe but ready for more, is a fitting end to the first half of the piece. Glenn Gould said of this variation, "It's the most severe and rigorous and beautiful canon It's a piece so moving, so anguished—and so uplifting at the same time—that it would not be in any way out of place in the St.
Matthew's Passion; matter of fact, I've always thought of Variation 15 as the perfect Good Friday spell. The set of variations can be seen as being divided into two-halves, clearly marked by this grand French overture, commencing with a particularly emphatic opening and closing chords.
It consists of a slow prelude with dotted rhythms with a following fugue-like contrapuntal section. This variation is another two-part virtuosic toccata. Specified for two manuals, the piece features hand-crossing. It is in 3 4 time and usually played at a moderately fast tempo. Rosalyn Tureck is one of the very few performers who recorded slow interpretations of the piece. In making his re-recording of the Goldberg VariationsGlenn Gould considered playing this variation at a slower tempo, in keeping with the tempo of the preceding variation Variation 16but ultimately decided not to because "Variation 17 is one of those rather skittish, slightly empty-headed collections of scales and arpeggios which Bach indulged when he wasn't writing sober and proper things like fugues and canons, and it just seemed to me that there wasn't enough substance to it to warrant such a methodical, deliberate, Germanic tempo.
This is a canon at the sixth in 2 2 time. The canonic interplay in the upper voices features many suspensions. Commenting on the structure of the canons of the Goldberg VariationsGlenn Gould cited this variation as the extreme example of "deliberate duality of motivic emphasis This is a dance-like three-part variation in 3 8 time. The same sixteenth note figuration is continuously employed and variously exchanged between each of the three voices.
This variation incorporates the rhythmic model of variation 13 complementary exchange of quarter and sixteenth notes with variations 1 and 2 syncopations. This variation is a virtuosic two-part toccata in 3 4 time. Specified for two manuals, it involves rapid hand-crossing. The piece consists mostly of variations on the texture introduced during its first eight bars, where one hand plays a string of eighth notes and the other accompanies by plucking sixteenth notes after each eighth note.
To demonstrate this, here are the first two bars of the first section:. The second of the three minor key variations, variation 21 has a tone that is somber or even tragic, which contrasts starkly with variation A similar pattern, only a bit more lively, occurs in the bass line in the beginning of the second section, which begins with the opening motif inverted.
This variation features four-part writing with many imitative passages and its development in all voices but the bass is much like that of a fugue. The only specified ornament is a trill which is performed on a whole note and which lasts for two bars 11 and The ground bass on which the entire set of variations is built is heard perhaps most explicitly in this variation as well as in the Quodlibet due to the simplicity of the bass voice.
Another lively two-part virtuosic variation for two manuals, in 3 4 time. It begins with the hands chasing one another, as it were: the melodic line, initiated in the left hand with a sharp striking of the G above middle C, and then sliding down from the B one octave above to the F, is offset by the right hand, imitating the left at the same pitch, but a quaver late, for the first three bars, ending with a small flourish in the fourth:.
This pattern is repeated during bars 5—8, only with the left hand imitating the right one, and the scales are ascending, not descending. We then alternate between hands in short bursts written out in short note values until the last three bars of the first section. The second section starts with this similar alternation in short bursts again, then leads to a dramatic section of alternating thirds between hands.
Williams, marvelling at the emotional range of the work, asks: "Can this really be a variation of the same theme that lies behind the adagio no 25? This variation is a canon at the octave, in 9 8 time. The leader is answered both an octave below and an octave above; it is the only canon of the variations in which the leader alternates between voices in the middle of a section. Variation 25 is the third and last variation in G minor; a three-part piece, it is marked adagio in Bach's own copy  and is in 3 4 time.
That they reach real depths that are hard to explain is a view shared by those who have much more musical knowledge than I. Glenn Gould said: It is, in short, music which observes neither end nor beginning, music with neither real climax nor real resolution, music which, has unity through intuitive perception, unity born of craft and scrutiny, mellowed by mastery achieved, and revealed to us here, as so rarely in art, in the vision of subconscious design exulting upon a pinnacle of potency.
Few other musical pieces get anywhere near this exploration of the music of the spheres, though some of Schubert's piano works have a similar atmosphere of depth and engagement. These are grand claims and certainly not all artists realise them in their performances. Instant judgements are not useful in this respect, so I'll wait on time to know if Finch's journey from the opening aria to its restatement at the end gets anywhere near the best. For now - it's growing on me!
I think Catrin Finch has done an excellent job - in fact some variations sound better on the harp, bringing out the complexity of counterpoint with absolute clarity. The quality of both the playing and the sound reproduction is first class. Highly recommended. Astonishingly virtuosic harp performance of Finch's own adaptation of the Variations.
It's become one of my staple albums, and my massage therapist has bought a copy to play as background music when giving treatments. If you get a chance to see Finch playing this live, jump at it. A marvellous CD by a performer who is always striving to expand her repertoire. It provides a wonderful calming atmosphere, and my only regret is that I wasn't able to get to hear it live last month.
Chris Evans. One person found this helpful. Superb interpretation, listened to this many times. Glenn Gould's disc of the Goldberg Variations was my introduction to what have become Bach stalwarts for me.
Catrin Finch opens a new layer of enjoyment with her impeccable Aria - Catrin Finch - Bach* - Goldberg Variations (CD rendition. How did I miss this when it was first released?! Lovely sensitive transcription beautifully played.
The harp gives an intersting sound somewhere between piano and harpsichord, with neither the heaviness of piano nor the frailty of harpsichord. I hope she does more transcriptions. See all reviews from the United Kingdom. Top international reviews. Translate all reviews to English. Thank you for your feedback. Sorry, we failed to record your vote. Please try again. Translate review to English.
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Johann Sebastian Bach Composer Goldberg Variations, BWV (Clavier-Übung IV) Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch Work. Catrin Finch's debut on the venerable Yellow Label offers an accomplished performance of her own transcription for harp of Bach's timeless Goldberg Variations/5(30). Feb 26, · Welsh Harpist performs Bach's Goldberg Variations - Variation 1. The Full CD is available on Deutsche Grammophon record Label. Her first album on Sony BMG with Karl Jenkins and other disks "Live".
Catrin Finch's debut on the venerable Yellow Label offers an accomplished performance of her own transcription for harp of Bach's timeless Goldberg Variations/5(30).
Sep 20, · The Goldberg Variations, composed by J.S. Bach, played by Murray Perahia. If you like it, buy the CD, like I did. If you don't, please comment with respect. May 26, · J.S. Bach: Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch - Var. 2 a 1 Clav. $
The Goldberg Variations, BWV , is a musical composition for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in , the work is one of the most important examples of the variation form. It is named after Johann Gottlieb Goldberg, who may also have been the first performer of the work.
Jul 29, · Provided to YouTube by Universal Music Group J.S. Bach: Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch - 1. Aria · Catrin Finch Bach, J.S.: Goldberg. Description by John Keillor Johann Sebastian Bach completed the Goldberg Variations, BWV , for keyboard in The work consists of an aria and 30 variations. Scholars at the end of the twentieth century were still debating the exact details of the work's origin, but many accept that J.G. Goldberg commissioned it.
J.S. Bach: Aria mit 30 Veränderungen, BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch - Var. 5 a 1 ovvero 2 Clav. Catrin Finch: BWV "Goldberg Variations" - Arranged for Harp by Catrin Finch - Aria Catrin Finch: J.S. Bach: Concerto for Harpsichord, Strings, and Continuo No.5 in F minor, BWV - Piano.
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