Goldberg Arpeggio

[gkatele]

Question on performance of the Aria from the Goldbergs:

At the beginning of measure 11 there's an arpeggiated e-minor chord. I have (probably) half a dozen recordings of this work and half of them play the arpeggio ascending (Schiff, Leonhardt, Perahia) and half descending (Barenboim, Gould - 1982, 1959).

Any opinions?

(as an aside, for some non-piano virtuosity - check out Kurt Rodarmer's recording of the Goldbergs on guitar! He had to overdub some of the pieces (you know, only 4 fingers) and had a guitar specially built to handle some of the lower notes. Remarkable!)

[Etude]

I have the Schirmer edition which has a small set of staves throughout the book which show how the ornaments should be interpreted, and it clearly shows that the arpeggio should descend.  Until I saw the Schirmer edition, I thought that this arpeggio should be played ascending.  I think that the reason for this is probably that the arpeggiation of chords from highest to lowest is little used since the end of the Baroque era, and when the direction of the arpeggio is meant to descend, it is very clearly marked with a downwards arrow.  If you say that half of the recordings you have play this arpeggio ascending then I think it would be wise for you to do some research into the interpretation of J.S. Bach's ornaments. 

HTH

Etude_de_Concert

[theodopolis]

When performing this piece on harpsichord, I like to ascend the first time and then descend on the repeat. Not for any authentic purpose but because I think audiences generally recognise the upwards arpeggio more than the downwards and to give the piece an element of surprise. Also, ascending the arpeggio places more emphasis on the top note and therefore the melody, which is of course the essence of the aria.

Thanks
Theodopolis

P.S I personally believe that ornaments should not be thought upon too much and far too much scholarship and theory are spent on the matter. They are, after all, meant to be interpreted individually by the performer. 

[gkatele]

"When performing this piece on harpsichord, I like to ascend the first time and then descend on the repeat."

What a great idea! Makes all the sense in the world. I am always amazed when I hear Andras Schiff play the Goldbergs how the repeats change the ornaments, and it sound so different and new.

Thanks for the reply.

George

[gouldfischer]

At the beginning of measure 11 there's an arpeggiated e-minor chord. I have (probably) half a dozen recordings of this work and half of them play the arpeggio ascending (Schiff, Leonhardt, Perahia) and half descending (Barenboim, Gould - 1982, 1959).

Hmmm... Gould (82) plays it descending the first time and then ascending in the closing reprise (Aria Da Capo).