DMITRY SITKOVETSKY GOLDBERG VARIATIONS PDF
Johann Sebastian Bach – Composer – Goldberg Variations BWV (Sitkovetsky version) – Music Sales Classical. The Russian-born violinist Dmitry Sitkovetsky, who founded the New European Strings Chamber Orchestra in , has enthusiastically. View credits, reviews, tracks and shop for the CD release of Goldberg Variations on Discogs.
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The Art of Transcription – JS Bach arrangements for String Trio by Dmitry Sitkovetsky
The Goldberg Variations stands as one of the greatest keyboard works ever written. But who was Goldberg, and how does he fit into the story of these famous variations? In his biography Forkel relates the story as follows:.
Peter Williams has speculated that the player Bach most probably had in dmitryy for the variations was his son Wilhelm Friedemann, a brilliant performer who had worked as organist of the Sophienkirche in Dresden since Still, Goldberg is reputed to have been a brilliantly talented young musician, and a pupil of both Johann Sebastian and Wilhelm Friedemann Bach.
This is one of the more plausible suggestions in the charming but largely fictitious Little Chronicle of Anna Magdalena Bach by Esther Meynell, first published in Dmjtry a master of transcribing his own music for different instrumental combinations, the arrangement of the Goldberg Variations by Dmitry Sitkovetsky for string trio is an idea that would surely have appealed to the composer. Donald Tovey wrote that: No other work by Bach himself, or by Domenico Scarlatti, not even any earlier work of Beethoven could compare with it for instrumental brilliance.
With three instruments of broadly similar timbre, the contrapuntal and imitative lines come across with great transparency, especially in the canonic variations Nos 6, 9, 12, 15, 18, 21, 24 and 27, or in the fughetta variation 10 and the closely argued counterpoint of variation 22, or, finally, in the triumphant imitation based on folk tunes of the Quodlibet that forms variation Some ingenious reworking sitoovetsky to produce an equivalent of the virtuosity required on the harpsichord: In variation 5, Sitkovetsky resists the temptation to write a third part, while the two-part texture of variation 6 is cleverly redistributed between the three instruments—leaving it as a two-voice jig—as it is in variation The elaborate hand-crossing and figuration of variation 14 are imaginatively re-conceived as a dialogue between the three string players.
The use of pizzicato for the running semiquavers in variation 19 may cause some surprise, but it provides an attractive change of texture. The highly chromatic writing of variation 25 works well on string instruments, with the greater sustaining power of strings allowing dissonances to be relished to varixtions full.
The frenetic momentum of variation 26 is, again, cleverly redistributed among the trio, while in variation 28 there is more effective use of pizzicato, perhaps to mirror the sound of the harpsichord witkovetsky well as to lighten the texture.
The grand chords of variation 29 are also persuasively transcribed. Voici ce que relate Forkel dans sa biographie:.
Johann Sebastian Bach – Goldberg Variations BWV (Sitkovetsky version) – Music Sales Classical
In seiner Biografie schildert Forkel, dass der Graf. Sitkowetskis Bearbeitung entstand zur Feier von Bachs Sitkowetskis Wahl des Streichtrios liefert einige faszinierende Resultate. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don’t show me this message again. September Total duration: There was no irony in the notion—expressed on this title page—of a work that aspired to speak to the soul of those playing and hearing the work: Bach, as a devout Lutheran, was deeply conscious of the spiritual dimension of music, and the wish of composers to enrich the soul as well as to divert and entertain.
But the work was also an extraordinary feat of large-scale composition: Bach is often thought of as a composer whose music was rediscovered only in the nineteenth century thanks in large part to Mendelssohn and Schumann dmitrt, but his keyboard music was something of an exception to this, even outside Germany, and the Goldberg Variations were particularly valued, though seldom played at the sitklvetsky.
Hawkins concludes his discussion of Bach with three full pages of music examples, comprising the Aria, Variation 9 and Variation 10 from the Goldberg Variations, making this one of the first pieces of Bach to appear in print outside Germany. It is relatively unusual to find Bach being so precise in one of his keyboard works about the instrumentation: In his biography Forkel relates the story as follows: The Count was often ill and had sleepless nights.
On these occasions, Goldberg had to spend the night in an adjoining room so that he could play something to him during this sleeplessness.
The Count remarked to Bach that he would like to have a few pieces for dmiitry musician Goldberg, pieces so gentle and somewhat merry in character that the Count could be cheered up by them during his sleepless nights. Bach thought he could best fulfil this wish with some variations … The Count henceforth referred to them only as his variations.
Bach: Goldberg Variations
He could not get enough of them, and for a long time, whenever sleepless nights came, he would say, Dear Goldberg, do play me one of my variations. Bach was perhaps never rewarded so well for one of his compositions.
Voici ce que relate Forkel dans sa biographie: Man stellt sich Bach oft als Komponisten vor, dessen Musik erst im In seiner Biografie schildert Forkel, dass der Graf sich oft in Leipzig aufhielt, und […] Goldberg mit dahin brachte, um ihn von Bach in der Musik unterrichten varations lassen. Lieber Goldberg, spiele mir doch eine von meinen Variationen.