In she emigrated to the United States, then decided to settle in Paris in She gives concerts all over the world, focusing on a repertoire which she limits to a few composers she cherishes above all others: Scarlatti, Haydn, Mozart, Beethoven, Schubert, Schumann.
At its very centre is Bach and his great cycles: The Well-Tempered Clavier, the Partitas and the Goldberg Variations, the work with which her name is particularly associated and which she has given in recital more than two hundred times, as well as The Art of Fugue.
HighRes-Studio Master files are lossless at various sample rates from Login Search. English German. View all Genres. Grunge Indie Rock New Wave. Breakbeat Techno Trance. Easy Listening. Film and TV Music. Classical Dramas Romance. Blues Folk Piano Pop. 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.
This is the only canon where two manuals are specified not due to hand-crossing difficulties, and the only pure canon of the work, because it does not have a bass line. This variation is a two-part toccata in 3 4 time that employs a great deal of hand crossing. Trills are written out using thirty-second notes and are present in most of the bars.
The piece begins with a pattern in which each hand successively picks out a melodic line while also playing trills. Following this is a section with both hands playing in contrary motion in a melodic contour marked by sixteenth notes bars 9— The end of the first section features trills again, in both hands now and mirroring one another:. The second section starts and closes with the contrary motion idea seen in bars 9— Most of the closing bars feature trills in one or both hands.
This variation consists mostly of heavy chords alternating with sections of brilliant arpeggios shared between the hands. A rather grand variation, it adds an air of resolution after the lofty brilliance of the previous variation. Glenn Gould states that variations 28 and 29 present the only case of "motivic collaboration or extension between successive variations.
The others remain unknown. Bach's biographer Forkel explains the Quodlibet by invoking a custom observed at Bach family reunions Bach's relatives were almost all musicians :.
As soon as they were assembled a chorale was first struck up. From this devout beginning they proceeded to jokes which were frequently in strong contrast. That is, they then sang popular songs partly of comic and also partly of indecent content, all mixed together on the spur of the moment. This kind of improvised harmonizing they called a Quodlibet, and not only could laugh over it quite whole-heartedly themselves, but also aroused just as hearty and irresistible laughter in all who heard them.
Forkel's anecdote which is likely to be true, given that he was able to interview Bach's sons , suggests fairly clearly that Bach meant the Quodlibet to be a joke. A note-for-note repeat of the aria at the beginning.
Williams writes that the work's "elusive beauty Its melody is made to stand out by what has gone on in the last five variations, and it is likely to appear wistful or nostalgic or subdued or resigned or sad, heard on its repeat as something coming to an end, the same notes but now final. When Bach's personal copy of the printed edition of the "Goldberg Variations" see above was discovered in , it was found to include an appendix in the form of fourteen canons built on the first eight bass notes from the aria.
The Goldberg Variations have been reworked freely by many performers, changing either the instrumentation, the notes, or both. The Italian composer Busoni prepared a greatly altered transcription for piano. According to the art critic Michael Kimmelman , "Busoni shuffled the variations, skipping some, then added his own rather voluptuous coda to create a three-movement structure; each movement has a distinct, arcing shape, and the whole becomes a more tightly organized drama than the original.
From Wikipedia, the free encyclopedia. Keyboard work by Johann Sebastian Bach. For other uses, see Goldberg Variations disambiguation. Aria to Variation 9. Variations 10 to Variations 23 to Aria Da Capo. Bass Line. Performed by Kimiko Douglass-Ishizaka on piano. This file is available in "flac" format here. Variatio 1.
Variatio 2. Variatio 3. Canone all'Unisuono. Variatio 4. Variatio 5. Variatio 6. Canone alla Seconda. Variatio 7. Variatio 8. Variatio 9. Canone alla Terza. Variatio 10 a 1 Clav. Variatio 11 a 2 Clava. Variatio Canone alla Quarta. Variatio 13 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 Sexta. Variatio 20 a 2 Clav. Variatio 21 Canone alla Settima. Variatio 22 a 1 Clav. Variatio 23 a 2 Clav. Variatio 24 a 1 Clav.
Canone all Ottava. Variatio 26 a 2 Clav. Variatio 27 a 2 Clav. Variatio 28 a 2 Clav. Variatio 29 a 1 ovvero 2 Clav. Aria da Capo. The Keyboard Music of J. The Faber Pocket Guide to Bach , p. Bach Studies 2 , p. Bach's Keyboard Music , p. Retrieved By Thomas Braatz January ". Thanks for poasting. The Goldberg Variations remains a beautiful piece of music. Welcome to popular music site IsraBox! On IsraBox you can listen music for review is also you can download music albums.
We present new, exclusive music and the hot hits for information.Lang Lang Bach: Goldberg Variations. J.S. Bach: Goldberg Variations, BWV 1.