goldberg

 

 

Goldberg

 

 

Petri Kumela

Jürgen Ruck

Guitars

 

 

 

 

 

Whenever I hear organ music by Johann Sebastian Bach, I always think of the time when I was a young organ student trying to play chorale preludes from the so-called Orgelbüchlein (Little Organ Book) in dark, ice-cold village churches with clammy hands. Ever since, Bach’s music has had something elementary to me: it is the opposite of darkness, cold and trepidation. That is why I love his music, and that is why love his fugues especially. For at the beginning of a fugue, there is always this one very special moment when a theme, having been played by one individual voice, appears in a second voice, while the first develops the counter-voice, thus defining the arena of the action, so to speak. It is a sublime, yet somehow nonchalant moment!

Yet as much as this moment fascinated me and continues to fascinate me, I could not manage to transfer it to my own music. Today, it seems to me that there was a kind of aesthetic block – for a long time, this did not even feel like an encumbrance to me, despite leaving open the question why one would deny oneself a source from which composers have drawn for centuries. With time, through some inner process, my aesthetic positions have lost some of their severity and have broadened, and suddenly – to my considerable surprise and even greater joy – I found myself able to compose contrapuntally. This turning-point is marked by Goldberg. Read more ...

Joachim F.W. Schneider

Translation: Alexa Nieschlag

Goldberg - Tracking List

Joachim F.W. Schneider: Goldberg | Aria mit verschiedenen Veränderungen

01. speaker Aria (2’02) • 02. Variation 1 (1’07) • 03. Variation 2 (Kanon 7:6) (1’42) • 04. Variation 3 (4’28) • 05. Variation 4 (1’18) • 06. speaker Variation 5 (Kanon 7:5) (0’42) • 07. Variation 6 (Musik aus Glas) (1’14) • 08. speaker Variation 7 (“Kolibri”) (1’35) • 09. speaker Variation 8 (Kanon 7:4) (2’03) • 10. speaker Variation 9 (“Flamenco”) (1’31) • 11. speaker Variation 10 (Fuga a 3 voci) (1’04) • 12. speaker Variation 11 (Kanon 6:5) (1’28) • 13. Variation 12 (nicht zu breit) (0’47) • 14. speaker Variation 13 (0’27) • 15. Variation 14 (Kanon 5:4, Toccata) (0’37) • 16. Variation 15 (Fuga a 4 voci) (3’35) • 17. Variation 16 (1’44) • 18. Variation 17 (Kanon 5:3, “Goya”) (0’45) • 19. Variation 18 (1’46) • 20. Variation 19 (“Spieluhr”) (1’20) • 21. Variation 20 (Kanon 4:3) (0’58) • 22. speaker Variation 21 (Fuga a 3 voci) (2’12) • 23. Variation 22 (0’52) • 24. Variation 23 (Kanon 3:2) (0’25) • 25. Variation 24. Adagio, sempre rubato (4’30) • 26. Variation 25 (Fuga a 4 voci) (1’32) • 27. Variation 26 (Kanon 2:1) (0’48) • 28. speaker Variation 27 (Walzer) (2’10) • 29. Variation 28 (“Passacaglia- Miniatur”) (0’36) • 30. Variation 29 (Kanon 1:1) (1’02) • 31. Variation 30 (Quodlibet) (1’27) • 32. Aria da Capo e Fine (2’09)

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Johann Sebastian Bach: 6 Choralvorspiele aus dem Orgel-Büchlein
Bearbeiter: Jürgen Ruck

33. “Ich ruf zu dir, Herr Jesu Christ” BWV 639 (2’57) • 34. “Nun komm’ der Heiden Heiland” BWV 599 (1’02) • 35. “O Lamm Gottes, unschuldig” BWV 618 (2’37) • 36. “Herr Gott, nun schleuß den Himmel auf ” BWV 617 (2’09) • 37. “Das alte Jahr vergangen ist” BWV 614 (2’10) • 38. speaker “Alle Menschen müssen sterben” BWV 643 (1’54)

Total Time: 63’00

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