Non-Keyboard Goldbergs

[Archaic Torso of Apollo]

I'm aware there are a number of arrangements of the Goldberg Variations for instruments other than keyboard ones. In particular, I know of a brass ensemble version by the Canadian Brass, and a string arrangement done by Dmitry Sitkovetsky.

What others are there? Also, I'd like to hear opinions on these transcriptions if you have them.

[Hans Holbein]

Kurt Rodarmer, Guitar, Sony
Catrin Finch, Harp, DG
Sylvain Blassel, Harp, Warner
Fretwork, Viol Consort, HM
Teodoro Anzellotti, Accordion, Winter & Winter (whether this counts as non-keyboard is up to you)

[prémont]

If you search "Goldberg variations" at Presto Classical you will find quite a lot of non-keyboard versions.

[Mandryka]

What others are there? Also, I'd like to hear opinions on these transcriptions if you have them.

Joel Spiegelman's New Age Goldbergs is a thing

https://www.discogs.com/release/7020439-Joel-Spiegelman-New-Age-Bach-The-Goldberg-Variations

Kurt Rodarmer's Goldbergs is also a thing

https://www.discogs.com/release/12480274-Johann-Sebastian-Bach-Kurt-Rodarmer-The-Goldberg-Variations


In my experience these things suit people who are looking for colour contrasts to provide variety and  relief in the music. It's a really common phenomenon in long keyboard pieces, I know people who complain about this and Art of Fugue when it's played on a harpsichord, clavichord, piano or even an organ. And I can understand it to some extent - there's a knack to listening to long keyboard pieces like these,  and a knack to playing them poetically, which takes a bit of effort to acquire. You have to be open to more subtle forms of relief - rhythm, texture.

[prémont]

In my experience these things suit people who are looking for colour contrasts to provide variety and  relief in the music. It's a really common phenomenon in long keyboard pieces, I know people who complain about this and Art of Fugue when it's played on a harpsichord, clavichord, piano or even an organ. And I can understand it to some extent - there's a knack to listening to long keyboard pieces like these,  and a knack to playing them poetically, which takes a bit of effort to acquire. You have to be open to more subtle forms of relief - rhythm, texture.

All this is a problem of the reduced attention span of the listener of the present day. And of course also a question of taste. I harbour some of this myself. When I have listened to five minutes of a Bruckner symphony I have had more than enough.

[Spotted Horses]

There is at least one for wind ensemble (Homecoming Wind Ensemble) a version for Viols by Fretworks, and a version for string orchestra by Sitkevetsky and another by Bernard Labadie and Les Violons du Roy. I tend to like them (as well as the string trio version), although they don't replace the keyboard version.

[Brian]

Trio Zimmermann plays a modified version of Sitkovetsky where the three players altered their parts.

I will happily admit, being in my 30s, the truth of the comments above about present-day audiences wanting more color contrast in their listening experience. But there are other appeals as well. Multiple instruments can help a less experienced listener follow all the counterpoint.

With the Goldbergs specifically, attention span has been a problem for well over 100 years. The Busoni piano performance edition chops the music down to about 35 minutes.

[Mandryka]

Why is it, do you think, that there is such a big culture of transcriptions of The Goldberg Variations, but not of The Diabelli Variations?


For all the discussion about about attention spans, there are loads and loads of keyboard performances of The Goldberg Variations released each year. It's still the default way of presenting the music to the public.  I wonder what use people make of these recordings.

The Goldberg Variations are long because of the repeats. It takes a really skilled musician to make such repetitive music come off the page.

[Archaic Torso of Apollo]

In my experience these things suit people who are looking for colour contrasts to provide variety and  relief in the music. It's a really common phenomenon in long keyboard pieces, I know people who complain about this and Art of Fugue when it's played on a harpsichord, clavichord, piano or even an organ. And I can understand it to some extent - there's a knack to listening to long keyboard pieces like these,  and a knack to playing them poetically, which takes a bit of effort to acquire. You have to be open to more subtle forms of relief - rhythm, texture.

You may have a point there, but on the other hand, all the arrangements listed in this thread seem to be homogeneous (all strings, all winds, just a harp, and so on). Broadening the color pallette would be better served by some sort of mixed ensemble, even a small one like a piano trio.

[Mandryka]

You may have a point there, but on the other hand, all the arrangements listed in this thread seem to be homogeneous (all strings, all winds, just a harp, and so on). Broadening the color pallette would be better served by some sort of mixed ensemble, even a small one like a piano trio.

Sorry mate, you obviously haven't heard a Kurzweil 250 Digital Piano

https://www.youtube.com/watch?v=8ItlO-wDQRA&ab_channel=FelixOffenbach
https://www.youtube.com/watch?v=wiVHxOEwp98&ab_channel=FelixOffenbach

[Spotted Horses]

Why is it, do you think, that there is such a big culture of transcriptions of The Goldberg Variations, but not of The Diabelli Variations?

The difference, I think, is that most of the Goldberg's is fairly strict counterpoint that lends itself to transcription for individual voices. There are relatively few that are very awkward when transcribed. Transcribing Beethoven's late piano style would create essentially a new composition.

[Bachtoven]

The Goldberg Variations are long because of the repeats. It takes a really skilled musician to make such repetitive music come off the page.

Or as Jeremy Denk says, "75 minutes of G major/minor."

[Mandryka]

The difference, I think, is that most of the Goldberg's is fairly strict counterpoint that lends itself to transcription for individual voices. There are relatively few that are very awkward when transcribed. Transcribing Beethoven's late piano style would create essentially a new composition.

Well there always has to be one

https://en.wikipedia.org/wiki/Diabelli_Variations_(album)

https://open.spotify.com/album/0w1RVxaySWYbaeuO0vCNgD

[Spotted Horses]

The Goldberg Variations are long because of the repeats. It takes a really skilled musician to make such repetitive music come off the page.

It seems to me piece was mainly intended for private study, and the most natural way to approach it as a listener is a few variations at a time. Recordings opened it up as an experience for listeners.

When I first tackled it I tried to listen through. The first variation was my favorite, my second favorite was the second. By the time I got to the 30th variation I was thinking "please lord let it stop." Now I love it all.

[amw]

Why is it, do you think, that there is such a big culture of transcriptions of The Goldberg Variations, but not of The Diabelli Variations?

In addition to the piano sound/colour issues mentioned, also worth remembering that the Diabellis with all repeats are "only" 45-50 minutes.

[prémont]

The Goldberg Variations are long because of the repeats. It takes a really skilled musician to make such repetitive music come off the page.

I don't find the Goldberg variations repetitive at all. But that's of course me.

And in the romantic age lots of repetitions became built into the music, so it didn't even help to ignore the prescribed repetition marks. And the compositions became longer and longer  - demanding an even greater attention span.

[Elk]

While not generally a fan of Jean Guilou, he transcribed the Goldberg to organ, and it was released on a fabulously recorded Dorian CD that can be streamed on many platforms. The performance is very good too.

Oops, the organ is a keyboard, but not usually used for the Goldberg. One day, I'll learn to read closely :-)