Goldberg Variations, BWV 988: Var. 30, Quodiblet – 1955 Version

Goldberg’s variation 30 recorded in 1955 begins at quite a fast place, moving along with gusto; it is clear to me that Goldberg continues to drive the piece forward. Goldberg brings the piece down to mezzo-piano, however, this dynamic shift was more evident to me in his 1981 version. The piece also seems quite a bit shorter than his second version, perhaps because the tempo moves along so much more quickly.

“SHMRG”

Sound: the second phrase is only slightly softer than the first; generally, there is a consistent sound level.

Harmony: the harmony sounds slightly less pronounced in this 1955 version than Goldberg’s 1981 version.

Melody: strong melody; perhaps I hear the strength in it due to the piece being louder altogether.

Rhythm: begins at a continually quick pace.

Growth: due to this piece sitting at nearly the same sound level, there is not much growth to it, however it does slightly slow down at the cadence.

Goldberg Variations, BWV 988: Var. 30, Quodlibet – 1981 Version

Goldberg’s 1981 recording of variation 30 begins at a slower pace than the 1955 version. It sounds more steady to my ear than the 1955 version; this does not mean that the piece lacks purpose, but is perhaps stronger since the sound is more controlled. At the echo of the second phrase, Goldberg adds softer dynamics to contrast with the stronger and slightly louder first phrase, by bringing the sound to piano. The piece stays at a steady pace with medium forte until the end of the piece, where it slows down to the cadence.

To my ear, this variation, recorded in 1981 sounds more mature and controlled than Goldberg’s 1955 recording. Drawing from our last lecture, I recall Dr. Boyle mentioning that Goldberg himself said something along the lines of “the recording was too fast for comfort,” regarding his first recordings of Bach’s variations in 1955. While his playing in 1955 is quite skillful, I can understand why he would feel that way, due to the fast pace of his pieces.

“SHMRG”

Sound: even sound throughout the piece.

Harmony: Left hand is heard slightly louder in the first section, compared to the second section, where it becomes softer. The bass line does not overpower the melody.

Melody: beautiful trills in the right hand, steady and even.

Rhythm: begins at a steady and medium paced rhythm; to my ear, the growth slows down the rhythm/pace very slightly.

Growth: the piece begins mezzo-forte, recedes to piano where it slightly grows to mezzo-piano until the end.