Aria mit verschiedenen Veränderungen (2011/12)



  • for two guitars
  • duration c. 45 minutes
  • commissioned by Jürgen Ruck and Petri Kumela
  • world premiere of Aria and Var. 1, 4, 8, 10 on 23 April 2012 in Helsinki by Jürgen Ruck and Petri Kumela
    world premiere of the whole piece on 19 August 2013 in Aarhus by Jürgen Ruck and Petri Kumela
  • published by:
    Theophilius Productions
  • PDF (1st page)


AriaConcerning title, form and construction, this work refers to Bach’s Goldberg variations, but without citing or being gestural and structural too close to Bach. The tonal language and the formal disposition are very rich. There are contrapuntal variations such as canons and fugues or virtuosic dance movements (Flamenco, Waltz) and parts, in which specific contemporary techniques right up to microtonal systems are enjoyed to the full. These seemingly disparate elements conjoin in a unique and exciting dramaturgy to a perfect work of art.

Var13As with Bach the canons take up much space within the variations, but in contrast to Bach the canons are made in proportion of time (and not in proportion of intervals). The canons have the proportions 7:6, 7:5 etc. ‒ right up to 1:1 (which barely can be declared as a proportion) ‒, and the follower is the inversion of the beginner in all canons. Although the compositional technique is very strict, it develops a cosmos of atmospheres and characters which are enlarged in the free variations in many ways.

Var11Among those dance movements „Flamenco“ and „Waltz“ at least the titles of some variations have ref-erence to archaic forms like „Toccata“ or „Passacaglia“. There are also mysterious and magic-sounding movements entitled „Music of Glass“, „Hummingbird“ or „Music box“.

Var9Along the whole cycle spans an increasing microtonal differentiation of the material, until the pitches quasi disappear in the end. At the same time the disposition of the time proportions comes to the somehow surreal proportion 1:1. Before in the end the Aria sounds a second time, the variations in many regards seem consistently head for a determinable point. This point proves, however ‒ by the way as in Bach’s work ‒ as a „Quodlibet“, in which the players have to choose their way through the score and which therefore is taken literally („at pleasure“). In this way, the Quodlibet is the conclusion of a large-scale development and at the same time a place where a targeted consequence is undermined by freedom.




Aria   1:40
  1st Part
Var. 1   0:54
Var. 2 (Kanon 7:6) 1:37
Var. 3   3:36
Var. 4 (äußerst zart, wie ein Echo, immer ohne Nagel) 1:03
Var. 5 (Kanon 7:5) 0:35
Var. 6 (Musik aus Glas) 1:34
Var. 7 ("Kolibri") 1:42
Var. 8 (Kanon 7:4) 1:34
Var. 9 ("Flamenco") 1:13
Var. 10 (Fuga a 3 voci) 1:01
Var. 11 (Kanon 6:5) 1:22
Var. 12 (nicht zu breit) 0:38
Var. 13   0:34
Var. 14 (Kanon 5:4, Toccata) 0:36
Var. 15 (Fuga a 4 voci) 3:05
  2nd Part
Var. 16   1:42
Var. 17 (Kanon 5:3, "Goya") 0:39
Var. 18 (immer klingen lassen) 1:31
Var. 19 ("Spieluhr") 1:07
Var. 20 (Kanon 4:3) 1:07
Var. 21 (Fuga a 3 voci) 1:33
Var. 22   0:42
Var. 23 (Kanon 3:2) 0:22
Var. 24 Adagio, sempre rubato 4:51
Var. 25 (Fuga a 4 voci) 1:06
Var. 26 (Kanon 2:1) 0:56
Var. 27 (Walzer) 2:08
Var. 28 ("Passacaglia-Miniatur") 0:34
Var. 29 (Kanon 1:1) 0:49
Var. 30 (Quodlibet) ad. lib.
Aria da Capo 1:40


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