...well, if you've got stamina and aren't doing the repeats in the Bach...Brahms Op. 24 (Variations on a theme by Handel)
Thanks. You all have some great ideas. The Brahms/Handel Variations would actually be quite feasible because I already know them. I haven't played the complete Chopin preludes, but I see that they'd go really well with the Goldbergs. They'd take me a while to learn! What might be kind of nice also would be to do the Goldbergs first, then start the second half with some biting 20th century piece, then end with something lush and Romantic. One of my "trademark" pieces is the Berg Sonata, but something tells me it just doesn't go with the Goldbergs.
the diabelli variations (32 variations in c-minor) sounds like a great idea for a second half - if people are into the idea that they will hear two sets of variations.
Philip, you should look into Alan Street's writings on the Goldberg. Very cool. The set tracks rhethorical principles from Latin jurist Quintilian on how to present a legal case.So another option would be to play the variations and read the portions of Quintilian (or Perry Mason, for that matter), and perhaps the criticism pieces a guy Scheibe wrote against J.S. for writing antiquated and complicated music.My favorite still is just by itself, with repeats, and a big break before 16.
Hello ThalbergI am just starting to study the Goldberg and I am wondering about the best method to climb the Everest. At this stage I have been reading the Aria and the first three variations ( I play them with repeats !!!)How did you work on it ? how long did it take to reach performance level Thanks for help. It would be a great great pleasure to join the Goldberg ClubSergePS : Beethoven last sonata with the arietta and variations would be the best bet for me (or the Diabelli Variations if you want to be more dramatic)
******************PIANO STREET ARCHIVE MESSAGE********************TO: ThalbergFROM: SergeDATE: June 29, 2006Dear Thalberg,It has been a year and I've given up waiting for your reply on the Goldberg Variations. Couldn't wait any longer, so I've given up piano to become a taxidermist. If you get to Paris, look me up and come see my latest work -- I preserved and stuffed Chopin's cat. It's very cute! Yours,Serge (no hard feelings . . . I'm happy with my career choice.)
I think Goldbergs are one of the most ultimately fun pieces to practice. I recommend first of all getting the Kirkpatrick edition (Schirmer) because he gives fingerings, and he gives ways to perform the difficult hand-crossing arabesques that were much easier on a two-manual instrument. For Variation 11, for instance, he shows you the original, and above it he gives his version divided conveniently between the hands to minimize awkward crossing.I performed this once with the Shostakovich quintet. it was not particularly wise; I've heard it performed with Diabelli and I was bored out of my mind... I am always torn on a piece like this, because I feel the repeats should be there, but it can be a truly boring experience if it isn't ornamented properly; but I don't approve of the way most people ornament, because all they do is add trills. But Bach clearly showed in his suites that the way to ornament was not add trills, but to really ornament the melody so that the notes are different, not just tacked on trills or apoggiaturas. To learn the Goldbergs, I definitely do not recommend starting at the beginning and just going, you have to make it fun. Starting at the beginning it will seem like it never ends. Learn all of the canons first, for instance; then practice all the arabesques (the variations preceding each canon); then practice all the genre pieces (the variations preceding each canon).I think a good solution to repeats could be, repeating just the canons. I don't know - then it sounds so naked! But with all the repeats, it rarely sounds interesting. I think two good recordings are Perahia, and Feltsman. They really deal with the repeats head-on. Schiff's latest recording also is bold with the repeats, and I respect it for that, but it is so willfully eccentric and tastelessly played that I can't recommend it.Just some disorganized thoughts on the Goldbergs.Walter Ramsey
I just played a recital that consisted of the Goldberg Variations and nothing else. I felt that in preparing these for my first public performance, I shouldn't divide my attention (Or, to be more honest, I don't have the mental capacity to divide my attention). But now I know them and I'm comfortable with them, and I think next time I play them (6 months from now) I'd like to add something else to the program.But it's such a problem! Do you give people more Bach? If not, what else would complement such a monumental work? And do you play the Goldberg's first or last on the program? How do you make sure the audience doesn't get worn out?So far, the best thing I could come up with was to open with Goldbergs, then take a break, then play the Bach/Busoni Chaconne in D minor as a large encore.Advice, please!
I agree. The Goldberg Variations are BORING. Why would Bach do that to people? I mean, a person can only take so much of that one-dynamic polyphony before the mind starts wandering. Personally, I would just play the Goldberg theme and your two favorite variations, then perhaps play something lighter for the rest of the program.