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Topic: the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

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    Lightbulb the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

    It is one of my favorite variations, I still remember the effort for learning how to properly play it on my piano.

    Some harpsichord performances sound pretty flat, and some piano interpretation try to make it a virtuoso super fast intrigue.. but in my humble opinion the result sounds more like type-writer noise instead... (e.g. http://www.youtube.com/watch?v=CtSSpAT7rZg )

    Then again*, to unchain the beauty of this Canone all'Unisono, I dig out the possible original idea behind this form, using the sound of Flute and Violin, like in several original set of J.S.Bach, with Continuo realized by Bassoon and Harpsichord.

    Garritan Flute is amazing, but a bit too romantic, then I replaced it with a custom made Kontakt sound, (some old flute samples, manipulated to reach the Baroque Traversiere sound with spectrum analysis equalizer).

    http://www.webalice.it/fatis12/files...riation3fx.mp3

    *(to know what I'm doing, you may check the first post http://www.northernsounds.com/forum/...s-and-Continuo )

  2. #2
    Senior Member fastlane's Avatar
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    Re: the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

    Fabio,

    I listend to the Gould performance and it is technically impressive but not really musically satisfying.

    Your arrangement brings out the beauty of work. The instruments work well with each other that adds another dimension to the music.

    It was a pleasure to listen to.


    Phil

  3. #3

    Re: the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

    Oh my, Fabio - Another beautifully airy, delicate performance from you. It's incredibly beautiful, in a way a piano performance just can't be of something like this. I find the material not very interesting, simply mathematical, and something I can only take take in very small doses--in the way it's usually done. That's why I especially appreciate what you've done here. For me, the result is paradoxical. It's something warm and pleasant made from something cold and unable to touch me in its original form.

    Randy

  4. #4

    Re: the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

    I have the "second" studio recording of Gould and find it really outstanding. Your interpretation is very interesting and musical. Really, when you have finished all variations, polished everything a bit up, ready for a CD, please contact me, I am the first buyer.

    Greetings to Fabio the Great (a bit exaggerated, but true in these pieces),

    Raymond

  5. #5

    Question Re: the (next) Goldberg Variaton III, for Flute, Violin, Bassoon and Continuo

    Quote Originally Posted by Raymond62 View Post
    I have the "second" studio recording of Gould and find it really outstanding...
    Oh yes Ray, I've nothing against Gould, the opposite he's one of my favorite Bach performers. But I agree with some critics about the sometime excessive research of Harpsichord imitation in this specific performance (later for instance Gould recorded it again a bit more expressive soft and legato).

    I've my personal opinion about it: once you exit the original instrumentation (harpsichord, clavichord and baroque instruments) ther's no more need of being "philologic".
    If you play on the piano for instance, you may follow experimental way like Gould, using dynamics and articulation to explore the counterpoint that harpsichord or organ can't openly show, or use a romantic legato, rubato and crescendos to explore the melodic beauty of it. I love the romantic performances of Bach on the piano, it's something out of time, because it's not Chopin, but it's no longer Baroque...it's just pure Music.

    And so you may even touch people like Randy and me, finding too mathematic and cold the "philologic" performance... (and I'm an Harpsichord player, imagine if I wasn't... )

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