Canone all'Unisono. Variatio 4 a 1 Clav. Variatio 5 a 1 ovvero 2 Clav. Variatio 6 a 1 Clav. Canone alla Seconda. Variatio 7 a 1 ovvero 2 Clav. Variatio 8 a 2 Clav. Variatio 9 a 1 Clav.
Canone all Terza. Variatio 10 a 1 Clav. Variatio 11 a 2 Clav. Variatio 12 Canone alla Quarta. Variatio 13 a 2 Clav. Variatio 14 a 2 Clav. Variatio 15 a 1 Clav. Canone alla Quinta. Variatio 16 a 1 Clav. Variatio 17 a 2 Clav. Variatio 18 a 1 Clav. Canone alla Sesta. Variatio 19 a 1 Clav. Variatio 20 a 2 Clav. Variatio 21 Canone alla Settima. Prelude and Fugue No. Prelude in E-flat minor and Fugue in D-sharp minor No. Track Listing - Disc 6. Track Listing - Disc 7. Menuet Menuet 2.
Grave adagio - andante - allegro. Tempo di Menuetta. Track Listing - Disc 8. Tempo di Gavotta. Bach , BWV Track Listing - Disc 9. Track Listing - Disc Courante 1. Courante 2. Double 1. Double 2. Gavotte 1 ou la Musette. Gavotte 2 - Gavotte 1 da capo. Menuett 1. Menuett 2 - Menuett 1 da capo. Passepied 1 en Rondeau. Passepied 2 - Passepied 1 da capo. Variatio 25 a 2 Clav. Variatio 26 a 2 Clav.
Variatio 27 a 2 Clav. Canone Alla Nona. Variatio 28 a 2 Clav. Variatio 29 a 1 Ovvero 2 Clav. Variatio 30 a 1 Clav. Aria Da Capo. Bonus Track. CBS Masterworks Digital. Sell This Version. CBS Masterworks. This is a rapid two-part hand-crossing toccata in 3 4 time, with many trills and other ornamentation.
It is specified for two manuals and features large jumps between registers. Both features ornaments and leaps in the melody are apparent from the first bar: the piece begins with a transition from the G two octaves below middle C, with a lower mordent, to the G two octaves above it with a trill with initial turn.
Bach uses a loose inversion motif between the first half and the second half of this variation, "recycling" rhythmic and melodic material, passing material that was in the right hand to the left hand, and loosely selectively inverting it.
Contrasting it with Variation 15, Glenn Gould described this variation as "certainly one of the giddiest bits of neo-Scarlatti-ism imaginable. This is a canon at the fifth in 2 4 time. Like Variation 12, it is in contrary motion with the leader appearing inverted in the second bar. This is the first of the three variations in G minor, and its melancholic mood contrasts sharply with the playfulness of the previous variation.
Pianist Angela Hewitt notes that there is "a wonderful effect at the very end [of this variation]: the hands move away from each other, with the right suspended in mid-air on an open fifth. This gradual fade, leaving us in awe but ready for more, is a fitting end to the first half of the piece.
Glenn Gould said of this variation, "It's the most severe and rigorous and beautiful canon It's a piece so moving, so anguished—and so uplifting at the same time—that it would not be in any way out of place in the St. Matthew's Passion; matter of fact, I've always thought of Variation 15 as the perfect Good Friday spell. The set of variations can be seen as being divided into two-halves, clearly marked by this grand French overture, commencing with a particularly emphatic opening and closing chords.
It consists of a slow prelude with dotted rhythms with a following fugue-like contrapuntal section. This variation is another two-part virtuosic toccata. Specified for two manuals, the piece features hand-crossing.
It is in 3 4 time and usually played at a moderately fast tempo. Rosalyn Tureck is one of the very few performers who recorded slow interpretations of the piece. In making his re-recording of the Goldberg Variations , Glenn Gould considered playing this variation at a slower tempo, in keeping with the tempo of the preceding variation Variation 16 , but ultimately decided not to because "Variation 17 is one of those rather skittish, slightly empty-headed collections of scales and arpeggios which Bach indulged when he wasn't writing sober and proper things like fugues and canons, and it just seemed to me that there wasn't enough substance to it to warrant such a methodical, deliberate, Germanic tempo.
This is a canon at the sixth in 2 2 time. The canonic interplay in the upper voices features many suspensions. Commenting on the structure of the canons of the Goldberg Variations , Glenn Gould cited this variation as the extreme example of "deliberate duality of motivic emphasis This is a dance-like three-part variation in 3 8 time. The same sixteenth note figuration is continuously employed and variously exchanged between each of the three voices.
This variation incorporates the rhythmic model of variation 13 complementary exchange of quarter and sixteenth notes with variations 1 and 2 syncopations.
This variation is a virtuosic two-part toccata in 3 4 time. Specified for two manuals, it involves rapid hand-crossing. The piece consists mostly of variations on the texture introduced during its first eight bars, where one hand plays a string of eighth notes and the other accompanies by plucking sixteenth notes after each eighth note.
To demonstrate this, here are the first two bars of the first section:. The second of the three minor key variations, variation 21 has a tone that is somber or even tragic, which contrasts starkly with variation A similar pattern, only a bit more lively, occurs in the bass line in the beginning of the second section, which begins with the opening motif inverted.
This variation features four-part writing with many imitative passages and its development in all voices but the bass is much like that of a fugue. The only specified ornament is a trill which is performed on a whole note and which lasts for two bars 11 and The ground bass on which the entire set of variations is built is heard perhaps most explicitly in this variation as well as in the Quodlibet due to the simplicity of the bass voice.
Another lively two-part virtuosic variation for two manuals, in 3 4 time. It begins with the hands chasing one another, as it were: the melodic line, initiated in the left hand with a sharp striking of the G above middle C, and then sliding down from the B one octave above to the F, is offset by the right hand, imitating the left at the same pitch, but a quaver late, for the first three bars, ending with a small flourish in the fourth:.
This pattern is repeated during bars 5—8, only with the left hand imitating the right one, and the scales are ascending, not descending. We then alternate between hands in short bursts written out in short note values until the last three bars of the first section. The second section starts with this similar alternation in short bursts again, then leads to a dramatic section of alternating thirds between hands.
Williams, marvelling at the emotional range of the work, asks: "Can this really be a variation of the same theme that lies behind the adagio no 25? This variation is a canon at the octave, in 9 8 time.
The leader is answered both an octave below and an octave above; it is the only canon of the variations in which the leader alternates between voices in the middle of a section. Variation 25 is the third and last variation in G minor; a three-part piece, it is marked adagio in Bach's own copy  and is in 3 4 time. The melody is written out predominantly in sixteenth and thirty-second notes, with many chromaticisms. This variation generally lasts longer than any other piece of the set.
Wanda Landowska famously described this variation as "the black pearl" of the Goldberg Variations. Williams writes that "the beauty and dark passion of this variation make it unquestionably the emotional high point of the work", and Glenn Gould said that "the appearance of this wistful, weary cantilena is a master-stroke of psychology.
In sharp contrast with the introspective and passionate nature of the previous variation, this piece is another virtuosic two-part toccata, joyous and fast-paced. Underneath the rapid arabesques, this variation is basically a sarabande. Variation 27 is the last canon of the piece, at the ninth and in 6 8 time.
Variatio 27 a 2 Clav. Canone alla Nona. Variatio 28 a 2 Clav. Variatio 29 a 1 ovvero 2 Clav. Variatio 30 a 1 Clav. Aria da capo. Track Listing - Disc 2. Aria Johann Sebastian Bach. Canone all'Unisono Johann Sebastian Bach. Canone alla Seconda Johann Sebastian Bach. Al tempo di Giga Johann Sebastian Bach. Canone alla Terza Johann Sebastian Bach. Fughetta Johann Sebastian Bach.
Andante Johann Sebastian Bach. Ouverture Johann Sebastian Bach.View credits, reviews, tracks and shop for the CD release of Glenn Gould Plays Bach, The Original Jacket Collection on Discogs/5(4).