Time 19:00
The Palace on the Isle in the Royal Łazienki Museum in Warsaw
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Johann Sebastian Bach – the master of intricate polyphony and refined construction – was also renowned in his time as a virtuoso of keyboard instruments. He amazed audiences with his advanced technique, as evidenced by the words recorded in the obituary written by his son Carl Philipp Emanuel and his student Johann Friedrich Agricola, stating that he was “the greatest organist and harpsichordist we have ever had.” He applied his talent and performing experience in compositions that he organized into cycles, carefully thought out both in terms of formal structure and musical content.
One of the most impressive compositional projects of the Leipzig cantor is the four-part cycle Clavier-Übung, published between 1731 and 1741. It contains versatile “keyboard exercises” designed for different types of instruments, drawing from many national styles, and above all, astonishing in the wealth of forms and genres used. The final part of this monumental collection is the famous Goldberg Variations, in which the principle of variation so central to the Baroque era is embedded in an intricate, multi-layered structure. The theme is presented in the bass voice of the Aria, which frames the work, serving as both the beginning and the end of the piece, the point of departure and the goal of the journey. The thirty variations are arranged into ten groups of three movements, each group concluding with a canon. This sophisticated series concludes with the Quodlibet, in which, alongside the main theme, melodies of folk songs are woven in, carrying an additional playfulness. It is a true explosion of inventiveness – a work in which dances and styles, forms and techniques, sparkle like a kaleidoscope. It is as if Bach intended to encapsulate an entire era in a single ingenious and multifaceted composition. The multi-layered structure transports the listener to a world reflecting cosmic order and perfect proportion, where profound spiritual experience is combined with intellectual sophistication. A world where, as Johann Abraham Birnbaum recommends, “art lends Nature a beauty it lacks, and increases the beauty it possesses.”
Marta Dziewanowska-Pachowska
PROGRAM
Johann Sebastian Bach (1685-1750)
Aria mit verschiedenen Veränderungen (The Goldberg Variations), BWV 988
Aria
Variatio 1 a 1 Clav.
Variatio 2 a 1 Clav.
Variatio 3 Canone all’Unisono a 1 Clav.
Variatio 4 a 1 Clav.
Variatio 5 a 1 o vero 2 Clav.
Variatio 6 Canone alla Seconda a 1 Clav.
Variatio 7 a 1 o vero 2 Clav., al tempo di Giga
Variatio 8 a 2 Clav.
Variatio 9 Canone alla Terza a 1 Clav.
Variatio 10 Fughetta a 1 Clav.
Variatio 11 a 2 Clav.
Variatio 12 Canone alla Quarta in moto contrario a 1 Clav.
Variatio 13 a 2 Clav.
Variatio 14 a 2 Clav.
Variatio 15 Canone alla Quinta a 1 Clav., Andante
Variatio 16 Ouverture a 1 Clav.
Variatio 17 a 2 Clav.
Variatio 18 Canone alla Sesta a 1 Clav.
Variatio 19 a 1 Clav.
Variatio 20 a 2 Clav.
Variatio 21 Canone alla Settima
Variatio 22 a 1 Clav., alla breve
Variatio 23 a 2 Clav.
Variatio 24 Canone all’Ottava a 1 Clav.
Variatio 25 a 2 Clav., Adagio
Variatio 26 a 2 Clav.
Variatio 27 Canone alla Nona a 2 Clav.
Variatio 28 a 2 Clav.
Variatio 29 a 1 o vero 2 Clav.
Variatio 30 a 1 Clav., Quodlibet
Aria da Capo
PERFORMER
KRZYSZTOF GARSTKA HARPSICHORD
Duration: approx. 1h 20 mins
