# Listening habits for the Goldberg Variations



## jttoft (Apr 23, 2012)

Hi all.

I have been wondering how people are listening to Bach's Goldberg Variations.
What I mean is, are you listening to just a variation here and there, do your listen to the whole thing from beginning to end, or do you have some other sort of listening preference?

The reason I ask is that I have almost exclusively been listening from beginning to end when I have listened to this wonderful work, but somehow I find it to be a bit much to take in. The recording I am listening to is Glenn Gould's 1981 recording, and it's 51 minutes long, and while I love all 51 minutes, I sometimes find it can be a bit much all at once. So I'm sort of torn between trying to preserve the integrity of the work as a whole when I'm listening, and this feeling of being overwhelmed by all of it.

So I would like to know what everyone's habits are with respect to the Goldberg Variations, and also your thoughts on whether you think there is a "correct" way to listen to them - i.e. how one _ought_ to do it.

- Thank you!


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## Guest (Aug 21, 2012)

I listen to the complete work how could you listen to one variation as a 'stand alone' ?? you have to experience each variation as a follow on from the previous one, having said that I do some times use the Aria to compare one artist to another, I can understand that for you @ 50 min plus you have to be in the mood so to speak so only try it if you are really ready and in the right frame of mind


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## jttoft (Apr 23, 2012)

Andante said:


> I listen to the complete work how could you listen to one variation as a 'stand alone' ?? you have to experience each variation as a follow on from the previous one, having said that I do some times use the Aria to compare one artist to another, I can understand that for you @ 50 min plus you have to be in the mood so to speak so only try it if you are really ready and in the right frame of mind


- Yes, I agree about experiencing the variations following from one another, which is why I've practiced listening from beginning to end. Sometimes I just feel a little intellectually exhausted towards the end from all the greatness. 
Just now, I actually tried something new, which was to listen to the first half (Variation 15 included), then take a break of an hour or so and then follow with the rest. But it's like something's missing in both sessions - which isn't all that strange, because something _is_ missing: the other half!
It's quite annoying to be exhausted by a work of so much delightful music, but I suppose it's just a luxury problem, and that I should stop complaining...


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## StlukesguildOhio (Dec 25, 2006)

There's no such thing as too much Bach.


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## powerbooks (Jun 30, 2012)

Well, you are lucky you are not listening to some long versions. Tureck's newer DG version is over 90 min, and it is not even the longest one in piano version!









I always listen to GV from start to end, with the expectation and build up to the final variation 30, which is goose bumping everything I hear it!

Well, I listen to some variations individually, that is because my cell phone ring tones are set to different variations for my family members!

One is urgent and demand immediate response (variation 29, guess who?) 
One is dancing giga variation 7,
and of course the variation 30 for happiness!


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## SAKO (Jul 27, 2012)

Despite owning over a dozen Bach CD's, GV is one I don't have and is on my list of CD's to buy as soon as I can decide on which version. GG is looking a likely candidate.


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## Crudblud (Dec 29, 2011)

I always listen to the whole thing, but my trick is that I almost never listen to it.


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## Andreas (Apr 27, 2012)

I sometimes program my CD player to play only the canons, they are really the finest of the entire piece.


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## powerbooks (Jun 30, 2012)

SAKO said:


> Despite owning over a dozen Bach CD's, GV is one I don't have and is on my list of CD's to buy as soon as I can decide on which version. GG is looking a likely candidate.


If you are thinking of Gould, then get the 1981 version, which is more mature and well thoughtful. You can watch the entire performance on you tube for free. (Cost me nearly $100 ten years ago to get the DVD!)






I don't like those famous lady group pianists/harpsichordists: Landowska arrogant, Tureck mechanical, Yudina drunk......

For modern nice piano sound with (nearly) all repeats, I would go for Perahia. If he is too romantic, then go to Schiff the second resorcing for CEM, not the first for DEECA/London.









If you don,t mind skipping some repeats, I highly recommend Zhu Xiomei (fast and bold, very energetic!):









For harpsichord version, try Pierre Hantai.


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## Guest (Aug 23, 2012)

powerbooks said:


> If you are thinking of Gould, then get the 1981 version, which is more mature and well thoughtful. You can watch the entire performance on you tube for free. (Cost me nearly $100 ten years ago to get the DVD!)


Thanks for the link it is also available to d/l which I am doing now to watch this evening on the TV


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## jttoft (Apr 23, 2012)

Andante said:


> Thanks for the link it is also available to d/l which I am doing now to watch this evening on the TV


- Watching Glenn Gould play the Goldberg Variations is really a spellbinding experience. He plays with such skill and determination, and there's not a single note that's not carefully considered. Quite extraordinary.


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## Guest (Aug 25, 2012)

Thoroughly enjoyed the video! Although I have perhaps a half dozen CD’s of Gould I very rarely listen to them, as he is an artist that I can leave more easily than I can take. 
His animated performance complete with vocal accompaniment has always annoyed me
But this romantic interpretation was very good and I am sure JSB would have approved.


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## ivsverko (Feb 25, 2012)

jttoft said:


> Hi all.
> 
> I have been wondering how people are listening to Bach's Goldberg Variations.
> What I mean is, are you listening to just a variation here and there, do your listen to the whole thing from beginning to end, or do you have some other sort of listening preference?
> ...


Wow, great site and great threads.

I would say that one has to be in the mood and with fresh ears. This music is incredible and it is not easy to absorb it all if tired/distracted/non focused. But I would definitely think there is some inner build-up within the Variations, when you listen to great performance in a whole it can take you on a real emotional roller coaster. Not to mention last set of variations, after the 25th var. the _Black Pearl_ where every variation is more and more intense, and the return of the subtle and beautiful Aria after the majestic Quodlibet which already seems like a perfect victorious end of the cycle. It can bring tears on unprepared eyes/ears due to emotional overload. 

To put it simply, Bach is awesome. I disagree that you can't get anything from separated variations, but I believe the piece in a whole is much more rewarding.


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## moody (Nov 5, 2011)

ivsverko said:


> Wow, great site and great threads.
> 
> I would say that one has to be in the mood and with fresh ears. This music is incredible and it is not easy to absorb it all if tired/distracted/non focused. But I would definitely think there is some inner build-up within the Variations, when you listen to great performance in a whole it can take you on a real emotional roller coaster. Not to mention last set of variations, after the 25th var. the _Black Pearl_ where every variation is more and more intense, and the return of the subtle and beautiful Aria after the majestic Quodlibet which already seems like a perfect victorious end of the cycle. It can bring tears on unprepared eyes/ears due to emotional overload.
> 
> To put it simply, Bach is awesome. I disagree that you can't get anything from separated variations, but I believe the piece in a whole is much more rewarding.


They are best listened to with a cushion over ones head .


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## Novelette (Dec 12, 2012)

I listen to them from beginning to end, and I prefer the Richard Egarr recording to any others.

Fully attentive, with particular focus given to the means by which Bach varies the aria. As much as I love Beethoven's many variations, and Brahms', I always seem to return to the Goldberg Variations as the pinnacle of the variation genre.


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## realdealblues (Mar 3, 2010)

I always listen from start to finish...

Glenn Gould 1981 for Piano

Karl Richter 1970 for Harpsichord


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## DavidA (Dec 14, 2012)

Yes from start to finish. I have four recordings by Gould. One by Perahia which is the best modern recording.


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## KenOC (Mar 7, 2011)

Interesting. I think almost all people today listen to the Goldbergs from one end to another. But it wasn't always so! According to Forkel (I think -- from memory here) when Count Kaiserling couldn't sleep, he'd call out "Goldberg, please play me one of my variations!"


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## GGluek (Dec 11, 2011)

For years and years the Goldbergs performed their original function for me -- they put me to sleep. For some strange reason, about 10 years ago, after being away from them for some time, they suddenly clicked. I always listen beginning to end -- but if interrupted, I will pick up where I left off. Current favorite: Andrew Rangell, piano.


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## aleazk (Sep 30, 2011)

Well, if you are listening to the thing for the first time, it is obviously convenient to listen to the full set in one sitting. But once you know the piece, I don't see the problem in listening, if you want, just some of the variations, maybe those you like more or find more interesting.


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## PetrB (Feb 28, 2012)

The commission of this work had a peculiar specification: 

Goldberg was insomniac: (I stand, correctly corrected, by KenOC, just below -- so it was The Count who) requested a work which
1.) would help him go to sleep. (Aria)
2.) or keep him engaged if #1 did not work 

(The count had a resident musician, Goldberg -- That poor musician!)

That means it is a work the composer knew may put the listener to sleep, or that the listener could at any time while the work ran, nod off.

That music, and the performer are there for you, whether you nod off or stay awake. 
Listen to it all the way through, listen to only the Canon variations, the Quodlibet... however you wish to use it.


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## KenOC (Mar 7, 2011)

PetrB said:


> Goldberg was insomniac (etc.)


It was Count Kaiserling who commissioned the work. He had brought Goldberg, an excellent musician, to Leipzig to take instruction from Bach. The music was not intended to put the count to sleep, but to provide pleasure when he was up due to his insomnia. At these times, Forkel reports, the Count would call Goldberg into his chambers and say, "Dear Goldberg, do play me one of my variations."

BTW the above is Forkel's account, which has been questioned. But there's no other account, so...


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## PetrB (Feb 28, 2012)

KenOC said:


> It was Count Kaiserling who commissioned the work. He had brought Goldberg, an excellent musician, to Leipzig to take instruction from Bach. The music was not intended to put the count to sleep, but to provide pleasure when he was up due to his insomnia. At these times, Forkel reports, the Count would call Goldberg into his chambers and say, "Dear Goldberg, do play me one of my variations."
> 
> BTW the above is Forkel's account, which has been questioned. But there's no other account, so...


Yuo. The count treated both the music and his harpsichord very much like many use the radio or their iPod. Neither Bach, The Count, or Goldberg, I think, would get their britches in a twist if you listen to selections, mix the order of a few, etc.
Permission granted to mess with it from the maker and first player and audience granted.

For a sort of utility music, they're pretty damned amazing


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## hreichgott (Dec 31, 2012)

I like to listen all the way through, although in reality it tends to be interrupted by outside events at some point. I like Angela Hewitt's sparkling Goldbergs, and Simone Dinnerstein's mellow Goldbergs. I am sure that I would like Perahia's as I like his playing of just about anything, but I haven't yet heard it.


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## Guest (Jun 21, 2013)

I listened to Gould's 1955 rec last night his time for the aria was 1:54 Tureck's time on the CD that I have is 4:46 quite a difference but I like both.


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## NightHawk (Nov 3, 2011)

If you know the work from Aria through 32 variations to Aria repeat, then start anywhere you please. The Bach Police will not be alerted. :tiphat:


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## hreichgott (Dec 31, 2012)

Andante said:


> I listened to Gould's 1955 rec last night his time for the aria was 1:54 Tureck's time on the CD that I have is 4:46 quite a difference but I like both.


I think Gould had to eliminate repeats due to the time available on vinyl. Someone correct me if that's wrong. So that's really only a difference of 3:52 vs. 4:46. Still a tempo difference but not huge.


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## Guest (Jun 22, 2013)

hreichgott said:


> I think Gould had to eliminate repeats due to the time available on vinyl. Someone correct me if that's wrong. So that's really only a difference of 3:52 vs. 4:46. Still a tempo difference but not huge.


I never thought of that...


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## KenOC (Mar 7, 2011)

hreichgott said:


> I think Gould had to eliminate repeats due to the time available on vinyl.


Gould's 1955 Bach Goldbergs total 38'29". They were issued on a single mono LP. An LP can hold in excess of 50 minutes, especially in mono -- his 1981 stereo Goldbergs, also available as a single LP, were 51'19". So it seems unlikely he omitted as many repeats as he did due to media limitations.

The longest mono LP I ever owned was Klemperer's Missa Solemnis, at 70 minutes. Given the sound quality, that was taking things a bit too far.


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## Guest (Jun 22, 2013)

I must get the 81 recording I read that it is more deliberate and slower it must have been one of his last recordings.


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## Picander (May 8, 2013)

I listen to the whole masterpiece, but when it ends I always have to hear four of five times the incredible variation 25.


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