Composer: Johann Sebastian Bach
Performer: Ratimir Martinović
Format: FLAC (tracks)
Label: Azure Sky
Catalogue: AZ1001
Release: 2024
Size: 377 MB
Recovery: +3%
Scan: yes
Goldberg Variations in G Major, BWV 988
01. No. 1, Aria
02. No. 2, Variatio I. a 1 Clav.
03. No. 3, Variatio II. a 1 Clav.
04. No. 4, Variatio III. Canone all’ Unisuono. a 1 Clav.
05. No. 5, Variatio IV. a 1 Clav.
06. No. 6, Variatio V. a 1 ô vero 2 Clav.
07. No. 7, Variatio VI. Canone alla Seconda. a 1 Clav.
08. No. 8, Variatio VII. a 1 ô vero 2 Clav. al tempo di Giga.
09. No. 9, Variatio VIII. a 2 Clav.
10. No. 10, Variatio IX. Canone alla Terza. a 1 Clav.
11. No. 11, Variatio X. Fughetta. a 1 Clav.
12. No. 12, Variatio XI. a 2 Clav.
13. No. 13, Variatio XII. Canone alla Quarta. a 1 Clav.
14. No. 14, Variatio XIII. a 2 Clav.
15. No. 15, Variatio XIV. a 2 Clav.
16. No. 16, Variatio XV. Canone alla Quinta. a 1 Clav.
17. No. 17, Variatio XVI. Ouverture. a 1 Clav.
18. No. 18, Variatio XVII. a 2 Clav.
19. No. 19, Variatio XVIII. Canone alla Sexta. a 1 Clav.
20. No. 20, Variatio XIX. a 1 Clav.
21. No. 21, Variatio XX. a 2 Clav.
22. No. 22, Variatio XXI. Canone alla Settima. a 1 Clav.
23. No. 23, Variatio XXII. a 1 Clav. alla breve.
24. No. 24, Variatio XXIII. a 2 Clav.
25. No. 25, Variatio XXIV. Canone all’Ottava. a 1 Clav.
26. No. 26, Variatio XXV. a 2 Clav.
27. No. 27, Variatio XXVI. a 2 Clav.
28. No. 28, Variatio XXVII. Canone alla Nona. a 2 Clav.
29. No. 29, Variatio XXVIII. a 2 Clav.
30. No. 30, Variatio XXIX. a 1 ô vero 2 Clav.
31. No. 31, Variatio XXX. Quodlibet. a 1 Clav.
32. No. 32, Aria da Capo
J.S. Bach’s much-loved Goldberg Variations is a set of 30 variations on an Aria, and is regarded as one of the most ambitious pieces for keyboard from the Baroque era. The 30 variations are organised into groups of three, each group consisting of a canon, a dance, and a virtuosic variation, all showcasing Bach’s genius through a wide range of styles and moods, including fugal structures.
Montenegrin pianist Ratimir Martinović, known for his “exceptional dynamic range” and “brilliant technique”, gives an authentic and fresh interpretation of this timeless gem of the keyboard repertoire.
“Variation form is the form in which concentration is brought to its maximum; it enables the composer to speak only of essentials, to go straight to the core of the matter.” “It is not surprising that in his later years, variations became the favorite form for Beethoven, who knew all too well that there is nothing more unbearable than lacking the being we loved. Those sixteen measures and the interior world of their infinitude of possibilities.” – Milan Kundera, in ‘Laughter and Forgetting’