Analysis of Glenn Gould’s Performance of Goldberg Variations

Although many musicians try to separate music from performance, History has proved that the two are inseparable. In fact, they complement each other. Wanda Landowska is the first person to play the Goldberg variation. This was in the year 1934. Twenty-one years later Goldberg played his variation all over the world except Japan. It was in the third year Goldberg is recording that Glenn Gould did his performance. Variation in expression, effect, and meaning that can be created in different pieces of music. There is slight variation in expression in Goldberg Variation.  Glenn played A-B- frequently during his public performance. In this paper is an analysis of the Goldberg performances of Gould and Bach.

The Melody that Bach uses creates a tension in the listening. An apprehension that holds one to a particular spot due to the different structures present.  Melody is the center and resonance that is unique in the work of Bach.

Bach is very accommodative to the various styles. This is exhibited by his large variety through his play that he released every two years for four years. The music done by Bach is of high quality. It shows the result of quality work in use. His work is high quality and technical in some sense such that armatures have difficulty in mimicking. This may be the reason behind low consumer demand for his works.

The sound of ground bass gives the work of Bach a traditional impression. However, a modern quality emerges from two manual harpsichords that are of manual nature. It is ironical that such quality sound emanates from thirty-two ground note bass. The work exhibits melodramatic harmonic rhythms created by delicate repetitions.  The rhythm comprises of sixteen bars constructed from two parts. The music rises first then ends in a sudden stop that creates some cracks unique to circular repetitions.

The structure of this rhythm has sharp contrast at the beginning and at the end. Bach has a tendency to separate the role of his music in Western music culture and performance from the additional musical movement, phrase or work.  Music has the ability to express emotions and carry out a meaning of significance to listeners.   The music by Bash shows balance. Indeed, the music is on the edge, exhibits, and delicate equilibrium.

Balance in the works of Bach shows equilibrium between two qualities. These are Unity and complexity. There is a certain resemblance to Christianity in the play basing on the humble tune. Intellectual prowess is evident and shows that the human mind can create more than what the human mind can identify.

The performance by Bach is mechanical in nature and filled with some strange aspect of music. The mechanical aspect is evident from the uniformity that is characterized by strong sonority, loud dynamics, and harsh articulation. There is a weak projection of music ebb and flow. A struggle within the performance subject listeners to unnecessary demand for keen attention.  However, symphonic conductors create and equilibrium that reduces demand, and creates a sense of direction.

Historically informed performance results in a less mechanical performance than in few articulation and heavy texture. The resulting imperfection of Bach’s music creates a better performance of the same e and helps alleviate the quality of the music. A few modern listeners associate with Bach’s work.  It is ironical how the same piece of work remains immortal (Gabriel 2).

According to Gotlieb and Vladimir, Bach employs an integrationist performance through reception. The performers determine the time, sound, and intensity of the music (88-100). These results in the verbal discourse the audience hears. There is a perfect transformation from a verbal to a performance discourse.  This is debatable depending on the difference between performance interpretations and the critical interpretation.

The use of same chord bass rather than melody bass maintains the rhythm of the music in a consistent manner to the rhythm produced internally. When the music of the heart is in agreement with the music in the heart then harmony results to sleep induction. Construction is a combination of different aspects.  The best examples of contractions are idiom since they enjoy the same structure. Idioms have a different name in Goldberg Variations.

According to David Hume, Bach music has twenty-seven variations. These variations are divided into three cycles. The first cycle is the Canon. The Canon is divided into multiples of three. For example, it starts with three then six that are multiples of three by one and two respectively. The second cycle is the planet. It is divided into additions of three starting from four. The subsequent followers are seven and eight then continue to infinity. Finally, we have virtuoso. Unlike the planet, the virtuoso is in additions of three that start from five (Williams 16).

Gould plays with a high pitch that is distinct and clear. The work of Glenn goes hand in hand with aria, the trio dance. I feel that ornaments can be a good addition to the music by Gould. The docile Aria breaks worth a sense of urgency in variation one. Fermatas, Crescendo, and decrescendos are missing in the rapid play.

In conclusion, a rapid play by Glenn tends to show off to the world how fast he can play. Anxiety is high and he seems to really fit in his music with the performance. The slight hum creates a unique pleasant rhythm. On contrary, Bach plays a slow rhythm. His rhythm is eventually associated with the treatment of insomnia because it induces sleep.

Works Cited

Gotlieb, Heidi, and Vladimir J. Konečni. “The effects of instrumentation, playing style, and structure in the Goldberg Variations by Johann Sebastian Bach.” Music Perception: An Interdisciplinary Journal 3.1 (1985): 87-101.

Williams, Peter. Bach: The Goldberg Variations. Cambridge University Press, 2001.

Josipovici, Gabriel. Goldberg: Variations. Carcanet Press, 2002.