Get the download/CD or vinyl for around 5-7€ here:
http://www.tiger-musi… Read Full Bio ↴Get the download/CD or vinyl for around 5-7€ here:
http://www.tiger-music.com/da/carstendahl
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an Aria, originally written for his wife, and 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form.
The Goldberg Variations demonstrate the musical and mathematical genius of Bach, expressed through the Baroque ideal of balance and internal coherence.
The variations do not follow the melody of the aria, but - as was usual at that time - its bass line and chord progression. Each variation has its own distinct character and every third variation is a Canon, where two or more voices follow each other. For each new Canon the voices move one more note apart from each other - in the first Canon the leading and the following voice begin at the same pitch: al unisono, in the next the follower starts one note higher than the leader, in the third Canon they start three notes apart and so on. In some of the variations, like in Canon 4 and 5 the voices are played in the mirror-form: a moto contrario - when the theme of the leader moves up or down the follower moves each of its intervals in the opposite direction.
The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. The tale of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel: "For this work we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia."
On one occasion the count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights.
Bach thought himself best able to fulfil this wish by means of variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.
But since all of his works at this time were already works of art, so these variations became under his hand. He produced only a single work of this kind. Thereafter the Count always called them his variations. He was never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.'
Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 Louis d'or.
Nevertheless, even had the gift been a thousand times larger, their artistic value wouldn’t have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader.
In a recent book-length study, keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious.
Performer’s thoughts:
This recording was made over a period of 10 years. It has been recorded many times and is very much a cooperation with my "third ear" friend, producer and recording engineer Jesper Kaev Gliemann. (KÆV)
In the process of preparing, recording and editing we have been very free and dedicated in the work, supplying each other in the finest way. I could not have done this without him.
For me these variations (dances) do indeed demand a fresh interpretation that makes them physical, sparkling - played with innovation, humour, dexterity and passion. My primary idea has been to mix my extended knowledge of African and South American rhythms with the more European approach and understanding. This means first of all: phrase in the universal number of twelve (12) with subdivisions so to speak. When I play in two or four - then I phrase in three or six. I do, however take many risks and freedoms during this journey. The ornamentation and trills are just how I felt them and pay no respect to any establishment or particular school. Occasionally I changed meters and improvised parts here and there where I found it important to understate certain musical ideas and interpretations. I mostly play AB forms with no repetitions since it makes the whole piece of art stand as a clearer work.
However there are exceptions if I like the variation more than some of the others. Variation 22 I totally rewrote into minor because I simply did not like the original one in major.
Bach’s music is very much materialized spirit and needs to be played as if you yourself are the composer - with the same courage, eagerness and inner necessity. It needs to be approached in a timeless and universal context with a rhythmical and spiritual freedom. There is for me no other way to embark on musical expression than by investigating the existential subjects like an archaeologist would study the connectedness of the universal dimensions of being throughout decades. A chain of connectedness that brings us into a state of mind of being bound to history and human life and its expression and the reaching out for answers to the many questions.
The sound of preparation came through my improvised solo concerts. I was deeply obsessed by the need to transform the tempered piano into an instrument, in which it was possible to have (at least) a possibility of bending the keys and notes. Like a singer, tar or duduk player who can play the microtones and express all nuances within the human register of emotions. I actually consider the tempered tuning to be quite one dimensional and limited in the possibilities of connecting to the universal and collective consciousness.
The sound is produced by preparing the piano strings with metal wires that come from a snare drum. The seiding is the wire under a snaredrum. It makes a sound witch is extremely hard to control. It all becomes somehow quite uncontrollable in terms of touch, sustain and velocity. The artistic signature of this sound contains overtones and references to the mystic language of Persian tar, lute, harpsicord, banjo, heavy rock electric guitar and western upright piano in one big mixture.
I wanted to create a sound that would tear the listener’s nerves apart and at the same time force him or her to be curious and attentive - awake.
This music craves an actual statement from the artist. You must describe life and death. Light and darkness. Contrasts. You must be a cathedral as well as a crypt to be able to obtain and communicate this information.
However I do know that Bach's music is supposed to be beautiful and that’s why I had to make it ugly and unpredictable - since that is the path to true beauty in my perspective. Like life itself? Far too much classical music is played with either no or very little personal artistic signature and sounds like cream; there’s too much cream in this polite, reproduced, behaviouristic universe. I consider this to be a complete sin. Bach’s music must be actual. Must be alive. Must be universal. Must be innovative in its interpretation.
I would like to thank so many people and funds for financial and spiritual support during this project:
http://www.tiger-musi… Read Full Bio ↴Get the download/CD or vinyl for around 5-7€ here:
http://www.tiger-music.com/da/carstendahl
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an Aria, originally written for his wife, and 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form.
The Goldberg Variations demonstrate the musical and mathematical genius of Bach, expressed through the Baroque ideal of balance and internal coherence.
The variations do not follow the melody of the aria, but - as was usual at that time - its bass line and chord progression. Each variation has its own distinct character and every third variation is a Canon, where two or more voices follow each other. For each new Canon the voices move one more note apart from each other - in the first Canon the leading and the following voice begin at the same pitch: al unisono, in the next the follower starts one note higher than the leader, in the third Canon they start three notes apart and so on. In some of the variations, like in Canon 4 and 5 the voices are played in the mirror-form: a moto contrario - when the theme of the leader moves up or down the follower moves each of its intervals in the opposite direction.
The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer. The tale of how the variations came to be composed comes from an early biography of Bach by Johann Nikolaus Forkel: "For this work we have to thank the instigation of the former Russian ambassador to the electoral court of Saxony, Count Kaiserling, who often stopped in Leipzig and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia."
On one occasion the count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights.
Bach thought himself best able to fulfil this wish by means of variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation.
But since all of his works at this time were already works of art, so these variations became under his hand. He produced only a single work of this kind. Thereafter the Count always called them his variations. He was never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.'
Bach was perhaps never so rewarded for one of his works as for this. The Count presented him with a golden goblet filled with 100 Louis d'or.
Nevertheless, even had the gift been a thousand times larger, their artistic value wouldn’t have been paid for.
Forkel wrote his biography in 1802, more than 60 years after the events related, and its accuracy has been questioned. The lack of dedication on the title page also makes the tale of the commission unlikely. Goldberg's age at the time of publication (14 years) has also been cited as grounds for doubting Forkel's tale, although it must be said that he was known to be an accomplished keyboardist and sight-reader.
In a recent book-length study, keyboardist and Bach scholar Peter Williams contends that the Forkel story is entirely spurious.
Performer’s thoughts:
This recording was made over a period of 10 years. It has been recorded many times and is very much a cooperation with my "third ear" friend, producer and recording engineer Jesper Kaev Gliemann. (KÆV)
In the process of preparing, recording and editing we have been very free and dedicated in the work, supplying each other in the finest way. I could not have done this without him.
For me these variations (dances) do indeed demand a fresh interpretation that makes them physical, sparkling - played with innovation, humour, dexterity and passion. My primary idea has been to mix my extended knowledge of African and South American rhythms with the more European approach and understanding. This means first of all: phrase in the universal number of twelve (12) with subdivisions so to speak. When I play in two or four - then I phrase in three or six. I do, however take many risks and freedoms during this journey. The ornamentation and trills are just how I felt them and pay no respect to any establishment or particular school. Occasionally I changed meters and improvised parts here and there where I found it important to understate certain musical ideas and interpretations. I mostly play AB forms with no repetitions since it makes the whole piece of art stand as a clearer work.
However there are exceptions if I like the variation more than some of the others. Variation 22 I totally rewrote into minor because I simply did not like the original one in major.
Bach’s music is very much materialized spirit and needs to be played as if you yourself are the composer - with the same courage, eagerness and inner necessity. It needs to be approached in a timeless and universal context with a rhythmical and spiritual freedom. There is for me no other way to embark on musical expression than by investigating the existential subjects like an archaeologist would study the connectedness of the universal dimensions of being throughout decades. A chain of connectedness that brings us into a state of mind of being bound to history and human life and its expression and the reaching out for answers to the many questions.
The sound of preparation came through my improvised solo concerts. I was deeply obsessed by the need to transform the tempered piano into an instrument, in which it was possible to have (at least) a possibility of bending the keys and notes. Like a singer, tar or duduk player who can play the microtones and express all nuances within the human register of emotions. I actually consider the tempered tuning to be quite one dimensional and limited in the possibilities of connecting to the universal and collective consciousness.
The sound is produced by preparing the piano strings with metal wires that come from a snare drum. The seiding is the wire under a snaredrum. It makes a sound witch is extremely hard to control. It all becomes somehow quite uncontrollable in terms of touch, sustain and velocity. The artistic signature of this sound contains overtones and references to the mystic language of Persian tar, lute, harpsicord, banjo, heavy rock electric guitar and western upright piano in one big mixture.
I wanted to create a sound that would tear the listener’s nerves apart and at the same time force him or her to be curious and attentive - awake.
This music craves an actual statement from the artist. You must describe life and death. Light and darkness. Contrasts. You must be a cathedral as well as a crypt to be able to obtain and communicate this information.
However I do know that Bach's music is supposed to be beautiful and that’s why I had to make it ugly and unpredictable - since that is the path to true beauty in my perspective. Like life itself? Far too much classical music is played with either no or very little personal artistic signature and sounds like cream; there’s too much cream in this polite, reproduced, behaviouristic universe. I consider this to be a complete sin. Bach’s music must be actual. Must be alive. Must be universal. Must be innovative in its interpretation.
I would like to thank so many people and funds for financial and spiritual support during this project:
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I wanted choklet wenze zuba but I can't find it