Variations From Goldberg And Bach

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Variations from Goldberg and Bach

Introduction

The work of which this work is composed of Bach around 1740 and subsequently published by the Balthazar Schmid editor in early 1741. This is a composition for Clavecín with two keyboards and belonging to the quarter of the Klavierübung book. It is said that this piece was dedicated to Count Hermann Karl von Keyserlingk who suffered from insomnia, that was why he commissioned Bach himself for the composition of these variations that his clientcinist Goldberg, whom they owe his name, would play every night for him. However, the veracity of this story cannot be confirmed. The variations are a type of musical way in which from an issue since it usually occurs at the beginning of the work, new pieces of short extension are created each of which is known as variation. 

There are various procedures when composing each of these pieces. Always based on the main theme, we can modify it, but so that it maintains its melodic and harmonious affectionate essence and can be recognized despite adding ornaments, scales, arpegios, new figures, etc.;Another option will befrom this a new idea that will become the main theme of our new little work making it almost unrecognizable.

Developing

This composition consists of a set of 30 variations preceded by an aria that responds to the characteristics of the zarabanda and is the main theme of the work on which the variations are developed. This issue is in turn in charge of closing the composition. We find various types of variations. We can mainly talk about canons (in unison and two, three, four, five, six, 7, 8 and 9 voices, dances (poloneases), other virtuosistic creations, an overture and a quodlibet (musical form that combines different popular themesin the same piece).

Next we will focus on the main theme (ARIIA) and variations number 1 and number 5. As we have mentioned earlier, the initial ARIA is a zarabanda (dance that has its origin in Spain later extending to Italy, France and Germany because it has its own characteristics such as the slow tempo typical of the German zone, the ternary compass(3/4), very regular phrases normally of 8 or 4 measures, simple melodies and the characteristic point pace of the second half of the compass that Bach places in this case the last and third time) divided into two sections. 

This first piece, composed in Sol M is the one that will mark, as usual, the main tonality of the successive variations;However, it will modulate the dominant in the compass 11 and to my m in the last eighth of 19 returning to Sol m from the compass 27 to end in this hue by doing only a small inflection to do m in the compasses 29 and 30. As we have already mentioned, the phrases are always 8 measures (except for the anacruses that can be taken from previous bars), dividing in turn into semi -braids of 4 bars and you are generally in motifs of two measures of two measures. The first part will consist of two phrases and 4 semifrases presenting the second part indicated all of it in the attached scores (red = phrases, orange = semifrases, pink = smaller cells) and that will correspond to the structure of the 2 variationsin turn analyzed. 

The fundamental reason for this ARIA and which will appear frequently transported to different shades and tones (C.3-4, 5-6, 9-10, 11-12, 17-18) is found in compases 1 and 2. It will also take great importance the arpeized accompaniment that always appears next to the main reason. As for the cadences, it is mainly perfect cadences at the end of each phrase usually preceded by plagal cadences at the end of the first of each group of two semifrases. We can also highlight melodic reasons or patterns that are repeated as progressions such as compases 13 and 14, 27-28 and 29-30. In the latter (27-28 and 29-30 and including in this case the 31) a circle of fifths that leads us from my m to Sol m passing through the IV of my or II of Sun, re as V7 ofSol, Sun as V7 de Do, Do M and finally the dominant of Sol M to begin the final cadence in the last two measures.

The number 1 variation maintains the same hue, harmony and structure of the original except for the compases 9, 10, 11, 12 and 13 where a descending progression appears with a series of sevenths starting from sun as IV in the tone of re m. The last half of the first section is divided this time into two motifs of two measures due to the textural and rhythmic change in the upper voice. It is characteristic of changing compases 21 and 22 of the second section in terms of texture and disposal as a progression. In this variation despite the various melodic changes we can still recognize in it the original ARIA with its characteristic turns maintaining even some parts such as the almost intact circle of fifths. 

We must highlight the importance of the new theme of the compass 1 that is repeated continuously and whose basis are the two repeated notes that we find at the beginning of the Aryan Aria. Variation number 5, in turn maintaining the main harmony, shades and structure of phrases and semi -brass, completely modifies the melody of the base theme of variations as well as the type of accompaniment. Without neglecting the importance of repeated notes of the Number 1 compass of the ARIApenalties is recognizable. 

The accompaniment also maintains its essence in terms of the simplicity of the original arpegios although in this case the arpegios will not be complete and are accompanied by numerous key changes that cause a change of color and part of character. From the compass 8 the composer begins to play with the structures of both voices changing the figuration of accompaniment to the upper voice and the semicorcheas to the lower voice and the other sections in the different sections. In this case, given the feeling of continuity and tension that causes the always present passages of semicorcheas, the only cadences that take importance are those that mark the phrases ends and it will no longer be possible to divide the semifrases again into cells. 

conclusion

Even so we continue to find progressions such as in the compases 2-3 and 4 (descending), 13 and 14 (ascending), 21 and 22 and again and finally the circle of fifths that, although no longer directly with harmony, maintains itThrough the fundamental notes of the chords. Music is enormously related to other arts such as plastic. A paint has different colors, nuances within each color, textures depending on the type of technique used and each of them follows a certain style. All these characteristics can be found in music. Thus each musical form could be associated with a certain style. 

In this case, variations vanish into a base work of art that is gradually transformed and can become something that even maintaining elements in common with the original as its form can become something apparently different and unrecognizable. This occurs in some combinations of Arab mosaics and tapestries and very prominently in Escher’s mosaics where the figures or landscapes are gradually evolving until they are completely transformed.

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