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Johann Sebastian Bach
(1685-1750)
Goldberg Variations
Aria with 30 Variations
The Goldberg Variations were composed to be played on a harpsichord with 2 manuals. Bearing in mind that the computer uses an electronic harpsichord, I take advantage of the many sound effects produced by the synthesizer. I utilize many instrument banks, and it will best be heard with Soundblaster Live with Sound Font 2GMGS or 4GMGS loaded into Bank 0. If you get crazy sounds on some of the variations like accordion or organ, then your synthesizer isn't compatible.
You can download them individually or the entire set in a zip file.
Goldbergs ZIP
file
Complete Set
Variation
#3
Canone all'Unisono
Variation
#9
Canone alla Terza
Variation
#10
Fughetta
Variation
#12
Canone alla Quarta
Variation
#15
Canone alla Quinta
Variation
#16
Ouverture
Variation
#18
Canone alla Sesta
Variation
#21
Canone alla Settima
Variation
#22
Alla breve
Variation
#24
Canone all'Ottava
Variation
#27
Canone alla Nona
Variation
#30
Quodlibet
Aria
Reprise
Anna Magdalena's
Notebook
31 Pieces
I utilize many instrument banks in these works, and they will best be heard with Soundblaster Live with Sound Font 2GMGS or 4GMGS loaded into Bank 0. If you get crazy sounds on some of the pieces like accordion or xylophone where a harpsichord should be, then your synthesizer isn't compatible.
Today Anna Magdalena's Notebook is largely aimed at piano students of beginner to intermediate level. The pieces are considered easy, but whether they are easy or not, they are most charming to listen to on the modern piano as well as other keyboard instruments.
Although Sebastian Bach played one (or all) of three Silberman pianofortes at the court of King Friedrich II of Prussia, and composed one number for them in "Musical Offering". He had no love for the instrument and found a lot wrong with it. He gave Silbermanan earful with suggestions on how to improve it. These three instruments have survived, and a recording of "Musical Offering" using one of the Silberman pianofortes is available on CD. One has only to hear this instrument to realize why Sebastian didn't like it. It sounds terribly dull, and it buzzes a lot.
Sebastian's youngest son Christian later introduced the pianoforte as a concert instrument on a model made by Silberman's student, Johannes Zumpe. He liked it so much he abandoned the harpsichord completely. This model has a very bright, yet sweet sound; although, the intonation is a little uneven. Christian's concertos reflect that he turned this little flaw into an asset. He used very little chording on the right hand with more runs and arpeggios instead with Alberti basses mainly on the left hand.
I mention this because people have often speculated whether or not Sebastian would have liked the modern piano, since it has come a long way since Silberman. I, therefore, included a piano on 4 of the minuets as well as duplicates on harpsichord with 2 minuets exclusively on piano. While Magdalena Bach did not likely play the organ, I have put many of these pieces on the organ because they sounded so good when E.Power Biggs recorded them.
The numbering of the various pieces is mine, as it only helps to keep track of them. I have placed the dances first, then the arias and chorales.This is not the complete Notebook.
Anna
Magdalena's Notebook
ZIP File
Menuet
in F #1
Piano
Menuet
in G #2
Harpsichord
Menuet in G
#2
Piano
Menuet
in Gm #3
Organ
Menuet
in G #4
Harpsichord
Menuet in G
#4
Piano
Polonaise
in F #5
Harpsichord
by Jean-Philippe Rameau
Menuet
in Bb #6
Harpsichord
Rondo
in Bb #7
Harpsichord
by François Couperin
Polonaise
in Gm #8
Organ
Menuet
in Am #9
Organ
Menuet
in Cm #10
Organ
In Magdalena's handwriting, composer
unknown.
Who knows? Maybe she composed it.
Marche
in D #11
Organ
by Carl Philipp Emanuel Bach
Polonaise
in Gm #12
Harpsichord
by Carl Philipp Emanuel Bach
Marche
in G #13
Harpsichord
possibly by Carl Philipp Emanuel
Bach
Polonaise
in Gm #14
Harpsichord
Musette in
D
Reed Organ
Marche
in Eb #16
Organ
Polonaise
in Dm #17
Harpsichord
possibly by Carl Philipp Emanuel Bach
Solo
per il Cembalo in Eb #18
Harpsichord
Polonaise
in G #19
Harpsichord
Menuet
in Dm #20
Piano
Courante
in Cm #21
Harpsichord
1st movement of JSB's French Suite in
Cm
copied into the Notebook by Magdalena herself
Menuet
in G #22
Organ
"Fait par Mons.
Böhm."
Georg Böhm (1661-1733)
organist and former teacher of Bach in Lüneburg.
Aria in F
#23
Organ
When
My Pipe I Smoke #24
(Aria in Dm) - Harpsichord
| This aria appears twice in the Notebook, this version in Dm without words and another in Gm with words. The latter was undoubtedly transposed within the range of Magdalena's voice, and she evidently sang it to please her husband. |
Aria
di Giovannini #25
Harpsichord
Art
Thou With Me #26
"Bist du bei
mir"
(Aria in C)
Organ
What
Joy Is Mine, O Friend of Mortals #27
"Wie wohl ist
mir, o Freund der Seelen"
(Chorale in F)
Organ
Do
as Thou Will'st with Me, O Lord #28
(Chorale in C)
Organ
Anonymous composer - Harmonized by
JSB for Magdalena.
A text by Benjamin Schmolck without music appeared
in a Dresden songbook dated 1725.
Oh,
Eternity, thou Mighty Word! #29
"O Ewigkeit,
du Donnerwort!"
(Chorale in F)
Organ
Melody by Joh. Schop - Text by Joh. Rist
The 4-part version appears in a book of 4-part
chorales written by JSB for his son Emannuel.
Pray,
Remember My Soul! #30
"Gedenke doch,
mein Geist!"
(Chorale in C)
Organ
Why
Art Thou Sorrowful? #31
"Warum
betrübst du dich?"
(Chorale in Em)
Organ
The original melody is not likey JSB's,
but he undoubtedly expanded it and added his own bass.
|
Italian Concerto
(BWV 971 3rd movement)
(organ arrangement)
Sonata in Bm
for Flute and Obligato Harpsichord
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