Goldberg Variations

Contents

Aria

Variation 1 (a 1 Clav.)

Variation 2 (a 1 Clav.)

Variation 3 Canone all’ Unisono (a 1 Clav.)

Variation 4 (a 1 Clav.)

Variation 5 (a 1 ô vero 2 Clav.)

Variation 6 Canone alla Seconda (a 1 Clav.)

Variation 7 ( a 1 ô vero 2 Clav.)

Variation 8 (a 2 Clav.)

Variation 9 Canone alla Terza (a 2 Clav.)

Variation 10 Fugetta (a 1 Clav.)

Variation 11 (a 2 Clav.)

Variation 12 Canone alla Quarta (a 1 Clav.)

Variation 13 (a 2 Clav.)

Variation 14 (a 2 Clav.)

Variation 15 Canone alla Quinta (a 1 Clav.)

Variation 16 Ouverture (a 1 Clav.)

Variation 17 (a 2 Clav.)

Variation 18 Canone alla Sexta (a 1 Clav.)

Variation 19 (a 1 Clav.)

Variation 20 (a 2 Clav.)

Variation 21 Canone alla Settima (a 1 Clav.)

Variation 22 (a 1 Clav.)

Variation 23 (a 2 Clav.)

Variation 24 Canone all’ Ottavo (a 2 Clav.)

Variation 25 (a 2 Clav.)

Variation 26 (a 2 Clav.)

Variation 27 Canone alla Nona (a 2 Clav.)

Variation 28 (a 2 Clav.)

Variation 29 (a 1 ô vero 2 Clav.)

Variation 30 Quodlibet (a 1 Clav.)

Aria da Capo

Notes from the arranger

I had been considering arranging Bach’s Goldberg Variations since the winter of 2005, wondering if it would be possible to play all thirty-two movements on the harp. I listened to many recordings and tried to find out as much as I could about the work, which wasn’t very difficult, as it seems there are more opinions about this historical composition than any other on the internet! When we discovered that I was expecting our daughter in the Spring of 2006, I decided that I would set about to begin the process of arranging during my pregnancy, when supposedly I would have some time on my hands.

My intention has been to transfer the music onto the harp, changing as little as possible of the original. I hope I have succeeded, and that Bach would, perhaps, have enjoyed hearing it on this most wonderful instrument. The harp is naturally more suited to some of the Variations than others, and problems arose when many notes had to be played in the same area of the instrument, but with some careful practise and fingering it is all possible. This is by far the most important project I have embarked on to date and this incredible music continues to be an inspiration to me both when I hear and play it, and without doubt I will continue to discover more amazing things about Bach’s masterpiece.