VIDEO: Goldberg Variation 13 by J.S Bach

[jacobrudduck]

Hello guys, I'm back! As anticipated, here is the 13th variation from The Goldberg Variations. This was again, recorded digitally on my Casio CDP-100.

Admittedly, I took a good dozen takes of this before I was reasonably satisfied. Actually, whilst I'm on the subject, do you think this level of perfectionism is actually detrimental to my progress? I'd like to know, how many takes do *you* allow yourself recording a piece before you to move on?

Anyway, feedback on my performance will be greatly appreciated. Thank you 

[jacobrudduck]

I know I made a couple of mistakes in there, but I'll let you find them yourself  I think they would probably go unnoticed to the untrained ear, though.

[andhow04]

this is one of my favorite variations from the set. the melody is so free and detailed, while the other parts are so serene and pensive. in a similar way, variation 25 has a very strictly moving bass line, with a highly ornamented melody above, but of course the character is totally different.

i think the first thing you should do is try to separate the two voices in the left hand... to start you have to hold the thumb for the full value on the longer notes, but beyond that you should find a way to distinguish them in articulation and touch. there is a lot of room for creativity there

the right hand , in my opinion, can have longer dynamic lines and more clear changes.. right now you are blending in a lot of small crescendos and dimenuendos but it has the effect of making the melody seem a little aimless, like you cant see where is the top and where is the bottom. i think you can do this because you already play in a senstiive way, but just feels a bit disorganized.

about your question: i think we should always push ourselves to do something until its right and satisfies the conscience.  i myself will push and push an dpush till i get something right; for a whlie i was a little embarassed of this, but then i read a quote from Richter who said something a long the lines of, "I practice like an idiot.  I just repeat a page over and over until it's right."  obviously i felt validated.

ultimately music is a moral endeavor, i dont mean that it shows you or anyone how to be a good person, but the pieces we play engage our conscience and we strive to our best in execution and understanding of them. who doesn't mess up in a concert, and feel guilty?  but why should anyone feel guilty, they haven't hurt anybody.  except maybe their future career prospects. they feel guilty because getting the music to our best is a moral duty not just a habit, if you love the music.

[jacobrudduck]

Oh wow, I just realised! You're the very pianist who's Goldberg Variations I have been listening to for the past week or so!

I even left you a comment on there last week  I thought the performance was fantastic, very inspiring! So you are definitely the guy to approach when it comes to the Goldberg Variations

Anyhow, putting the autograph book away for a minute...  I understand perfectly what you're saying. There are definitely some sections in particular (in my video 0:40 - 0:50,  2:05 - 2:15) where I felt like I'm undecided on the dynamics, and it shows. It starts to feel almost uncomfortable. I think I also have a tendency at time to feel like "oh, this development/small variation here is interesting, I'll *highlight* it." Which I think is good to an extent because I'm obviously paying attention to what's happening, but sometimes like you say, it feels disjointed and out of place.

From what I understand, I need to organise exactly where these dynamic changes take place and make them longer, think of the piece as a whole and how it works. Also the articulation...I've been very very in two minds about the use of pedal and staccato in this piece. A part of me feels strongly that the melody should be very smooth and free flowing, like a passionate dance. But I also heard Glenn Gould's rendition of this piece at Salzburg (starts at 2:37)

The way he plays it so playfully, especially in the A section, and the occasional use of staccato/semi staccato in places really convinced me, so I now feel rather Jekyll and Hyde about the whole thing