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Johann Sebastian Bach Aria with 30 changes BWV 988 "Goldberg Variations" in a version for seven bassoons and contrabassoon, arranged by Henrik Rabien, solo bassoonist of the WDR Symphony Orchestra and professor for bassoon at the HfMDK Frankfurt. Recorded live at the WDR Funkhaus Wallrafplatz on June 27, 2021.
Henrik Rabien, Mathis Stier, Ulrike Jakobs and Stefan Kasper, bassoonists of the WDR Symphony Orchestra, were joined by Felix Eberle and Paulo Ferreira from the WDR Funkhausorchetster as well as Eberhard Marschall (former Bavarian Radio Symphony Orchestra) and Hans Agreda (Tonhalle Orchestra Zurich) as additional guests for this chamber concert.
Henrik Rabien, bassoon
Mathis Stier, bassoon
Ulrike Jakobs, bassoon
Stefan Kasper, bassoon
Felix Eberle, bassoon
Paulo Ferreira, bassoon
Eberhard Marschall, bassoon
Hans Agreda, contrabassoon
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○ Introduction to the work
The "Goldberg Variations" in an unusual arrangement for seven bassoons and contrabassoon. The idea came from Henrik Rabien, principal bassoonist of the WDR Symphony Orchestra. Bach's composition "Aria with 30 Changes" BWV 988 has been known since the 19th century under the title "Goldberg Variations." As Bach's biographer J. N. Forkel reported, the Imperial Count Hermann Carl von Keyserlingk had ordered "some piano pieces" from Bach. They were intended for the young harpsichordist Johann Gottlieb Goldberg, who was to play them for the Count, who suffered from tormenting insomnia. The initially small order grew into something much larger under Bach's hands: Since their publication, the "Goldberg Variations" have been considered the pinnacle of Baroque harpsichord music and, beyond that, of the art of variation in general. With the intention of preserving his compositional legacy, Bach had begun to publish carefully selected works for piano and organ in print in the 1730s. The "Goldberg Variations", published in 1741 as Part IV of the "Clavierübung", formed the crowning conclusion. Since Keyserlingk is missing as dedicatee in the printed edition and Johann Gottlieb Goldberg was only 14 years old in 1741, doubts have been raised again and again about J. N. Forkel's anecdote of the genesis of the work
Regarding the structure: the "Goldberg Variations" begin with the introduction of the Aria, followed by 30 elaborate variations that become more and more technically difficult. Remarkably, it is not the ornamented upper voice of the Aria that forms the starting point of the variations, but the bass: Bach develops ingenious piano variations of various genres on the foundation of a 32-bar bass line and its harmonies. Strict canons (every 3rd piece) alternate with virtuoso dance movements and demanding etudes. In the end, after about an hour, Bach's humor wins out over the elaborate variations. The final variation, the extremely artfully set quodlibet, quotes two whimsical folk songs ("Ich bin so lang nicht bei dir g'west" and "Kraut und Rüben haben mich vertrieben") over the thematic bass, thus providing a relaxed finale while maintaining the most complex compositional technique. The circle closes with the repetition of the Aria.
Bach's "Goldberg Variations" have already been arranged several times for other instruments. The unusual version for seven bassoons and one contrabassoon by Henrik Rabien received its successful premiere in 2013 with the Bassoon Consort Frankfurt at Frankfurt's Senckenberg Museum. In 2015, a recording was released on the MDG label, which was awarded an "Echo Klassik" in 2016.
Text: Tilla Clüsserath