Goldberg variation no.1

[kard]

I just looked up the variations on youtube and realized that you cross your hands at the two bars just before the end of the first theme/section. (?) I had split up the fingering for the notes so I don't cross my hands (...im playing it allegretto). I didn't realize that the intention was to cross the hands so my question is, am i cheating and should i just relearn those bars?  I'm under the impression that it kinda doesn't matter but i wanted some opinion on this.

[jlh]

Don't forget that this work was NOT composed for a single-manual keyboard instrument like the piano, so the intention could not have been that the hands must cross on a piano (each hand has its own keyboard on a harpsichord).  I have never played this work, but just bear in mind that while crossing may be a better option (there may be reasons -- I don't have a score) it is up to you to figure out how to make this work on a piano. 

Cheers!

Josh

[kard]

ohh single manual i.e. one set of keys/keyboard? 
I'll try out the hand crossing and compare them, thanks
It seems that would be less complicated than the fingering I have but maybe it will end up being less comfortable. 

[jlh]

ohh single manual i.e. one set of keys/keyboard? 

Yes. 

[thalberg]

I've played the Goldbergs, and I recommend crossing hands there.  It works better and sounds better in my opinion.  I played that variation full speed, and I don't think it would have been possible for me not to cross hands there.  Elsewhere, like variation 11, you will probably re-finger and not cross, but in this instance, I recommend crossing.

[seicinta]

I plays that crossing my hands and I don`t has a problem, why are you so interesting in cross not cross (to be or not to be) you must interesting whith the sound,the words, the question is: to heard ot not to heard, if you study thinking about the sound and that you are in this moment speaking, is not a problem..It's the same that if when are tou speaking with a person you think all the time: This word..is the apropiate in this moment or not..Yes, it's really that we make that unconcious but we speak since we was born..I hope that it's help you

[kard]

no the thing is that my music doesn't have any fingering on it, so it becomes my responsibility to find fingerings    

for that passage (with crossing) i have |53131213 5153|
any suggestions?
I can get through that passage, (after..much, much concentration lol..) but it just seems like
an interruption to the flow to me, that's why I was trying to avoid it. But i guess once you make the attempt it works out anyway

[thalberg]

Kard, I played the Goldberg Variations as a fourth year doctoral student.  My edition did not have fingerings, and I simply failed to find good ones.  The piece is just too hard to  finger.  It was my first experience in my life being unable to finger something.  I had to buy the Henle edition--it has fingerings.  It helped tremendously.  I recommend it.

[seicinta]

Kard, I also played the Goldberg's variations, and I fingered: (13 bar) 4212 1212 4253 (14 bar)5421 2124 5114 (bar 15) 32 1245 51 (bar 16) 5132 1432 1
Good music

[slobone]

I'm also using Henle, but their fingerings are often unnecessarily complicated, so I simplify them.

For me the cross-hands measures in Var 1 were the hardest part of the variation. I just couldn't cross my left hand over without bumping into my right hand. But I kept at it, and now it's not a problem.

And anyway, I can't imagine how you could possibly re-finger it to eliminate the crossing?

BTW the first variation was written for one manual only, it says so in the original score. The first variation intended for 2 manuals is #8. (#5 gives you a choice of one or two, but who wouldn't use 2 if they could?)

[kard]

Thanks you guys   The crossing hands is working out now, just getting used to the speed.
and as for the fingering (allthumbs) I was simply playing the notes as written but disregarding the fact that the two F#'s were with the right hand etc.
   
I try singing when I practice lol but I keep forgetting to breath and stuff so somtimes I get out of breath but its fine. I love this variation ^_^  (and the fact that I can play it now...well the first section anyway)

Thanks again

[slobone]

I love this variation ^_^  (and the fact that I can play it now...well the first section anyway)

Good, so now you can start having fun with it. Decide whether the left hand eighth notes should be legato, staccato, or in between, where the accents go, etc. Make sure the LH echoes the RH on the opening G-F#-G figure that keeps recurring. (I like to accent the third note of this figure.) Also what dynamic levels to have at different points.

[kard]

Yea, I'm experimenting with that currently. I love how there's a continuous 16th note drumming..almost. It makes for very interesting accents in my opinion. 
And forgive me but I'm gonna use the pedal at that measure I was asking about lol.. I want to keep those 8th notes as such..

[slobone]

Sure -- do what your ears tell you to do. But my first reaction is that it's going to sound kind of funny to only pedal for one measure. Frankly I think it's almost better just to leave out the RH crossover notes. I've never heard a recording where they really stood out.

[kard]

 I like a challenge     (i never thought of leaving it out before lol..) but you are right..

But then again..I already got that section ..yesterday, so its allright.
Its a little bit of half pedalling. I make it sound similar to the ascending and descending arpeggios a few measures before, just enough to keep them sort of fluid. 
I only started learning the second section today though lol..been putting it off for some reason or the other.
I also started off Chopin Mazurka Op.67 4, which is pretty fun.

Edit: bah...lol  I'll leave out the pedal. You get the same effect with a little dynamic change so why bother