Johann Sebastian Bach – a master of intricate polyphony and refined construction – was also renowned in his time as a virtuoso of keyboard instruments. His advanced technique amazed audiences, as attested in the Obituary written by his son Carl Philipp Emanuel and the pupil Johann Friedrich Agricola, who called him “the greatest organist and harpsichordist we ever had.” He used his talent and performing experience in compositions gathered into cycles thoughtfully conceived in terms of formal structure and musical content. One of the cantor of Leipzig’s most impressive compositional projects is the four-part Clavier-Übung cycle published between 1731 and 1741. It contains versatile “keyboard exercises” intended for different types of instruments, drawing on many national styles and, above all, astonishing in the richness of forms and genres used. The final part of this monumental collection is the famous Goldberg Variations, in which the Baroque principle of variation is embodied in an intricate, multi-layered construction. The theme is presented in the bass voice of the Aria, which, like a clasp, binds the work together, serving as both the beginning and the end of the piece, the starting point and the goal of the journey. The thirty variations are arranged in ten groups of three pieces, each last one being a canon. This exquisite series concludes with a Quodlibet, in which folk-song melodies are woven alongside the main theme, adding a humorous meaning. Here is a true explosion of invention – a work in which various dances and styles, forms and techniques shimmer like in a kaleidoscope. As if Bach intended to enclose an entire era in one highly artful and ambiguous composition. The multi-layered structure transports the listener to a world reflecting cosmic order and perfect proportion, where profound spiritual experiences combine with refined intellectual play. There, as Johann Abraham Birnbaum suggests, “art gives nature the beauty that it lacks, and multiplies the beauty it possesses.” PROGRAM Johann Sebastian Bach (1685-1750) Aria mit verschiedenen Veränderungen (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 Venue: Palace on the Isle at the Royal Łazienki Museum in Warsaw Duration: approx. 1 h 20 min. Seating is unnumbered. For inquiries we are available at the event location or by phone: +48 500 309 424 (Monday to Friday, 9:00–17:00).
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