Johann Sebastian Bach : aria with 30 variations : an insight into its style, structure and interpretation

Abstract

Considered to be the embodiment of eighteenth-century music, Johann Sebastian Bach’s compositional output, uses genres that had already been established, so that his influence lies in the way he inventively reinvigorated existing forms, moulding their structures to produce new original works. The Aria with thirty variations, popularly known today as the Goldberg Variations are significant from various perspectives. They are the largest set of variations to date and their scale was to remain unsurpassed until Beethoven’s Diabelli set. Structurally, they are perhaps the clearest example of Bach’s meticulous compositional methodology whereby every element can be seen to link to another, forming a complex whole. The canons too have their own particular development, as they progress from imitation at the unison through to the interval of a ninth. In addition, the all-important, though understated bass-line heard in the opening Aria is the underlying overall unifying factor of the whole work. While such patterns give these Variations unifying factors, Bach still maintains variety through a number of subtle techniques such as time-signatures, different characters, the irregular placing of minor-mode movements, as well as the number of contrapuntal voices employed in each movement. This work is also a unique example of eighteenth-century practices, moving away from convention by specifying a particular instrument. From a technical viewpoint, the Variations can be described as the highpoint of eighteenth-century virtuosity, whose technical demands are still regarded as challenging. From the circumstances of its composition, through to its standing in today’s mainstream repertoire, the researcher will examine what influenced Bach’s compositional method and how this work in turn influenced works by later composers. The core of the thesis will be an in-depth study on the structure of the Variations, where both its internal constitution as well as its overall architectonic structure will be examined. Different interpretations relating to the execution of ornamentation, rhythm and articulation employed through the centuries will be discussed with reference to various editions. Other performance issues relating to repeats, and tempos as well as choice of instrument will also be examined. Furthermore, these will be supported by examples from selected recordings by different artists who have performed the Goldberg Variations.