Music Chat: Driving to Bach's Goldberg Variations (Road Music No. 2)

Don't worship Bach's music--use it! Not only are his Goldberg Variations amazingly entertaining and enjoyable on their own, they also make the perfect accompaniment to a ride of anywhere from forty to ninety minutes, depending on which version you get. Here are fifteen performances, allocated among various keyboard instruments both ancient and modern, that are guaranteed to keep you alert and engaged.
Musical Examples courtesy of Naxos, Capriccio and CPO Records

[@bohoh1986]

I am really thankful for your brief but also comprehensive at the same time summary of Goldberg's recordings. As a beginner to Goldberg's I fell in love with your talk.

[@DavesClassicalGuide]

Glad it was helpful!

[@cpeters6494]

At the conservatorium, where I studied composition and music theory, we had this guy giving a course called "secondary piano", which meant teaching instrumentalists with no talent or interest in keyboard playing some basics of... keyboard playing. Must have been the worst job at the entire place, maybe apart from the guy who had to clean the toilets. But I had a good relationship with him. He was happy to have a motivated student who actually could play the piano to a certain degree and had interest in the classic piano repertoire. Problem was, I always chose pieces that were above my limited capacities. Mozart? Meh. Too "easy". Beethoven? Fine, but not those early sonatas, gimme those late suckers. Op. 109, 110 and 111. I still had the good sense of skipping the Hammerklavier, but the one thing I wanted to do most was the Diabelli Variations. And I did, in some way. Fun times. It probably works that way with composers, always going for the stuff that's most challenging and rewarding on an intellectual level, and getting bored very fast of music that's just satisfying or entertaining on a purely musical/technical level. And yes, of course, Bach. I did my share of the WK 1 and 2, some suites and other loose change, but there was always that imposing giant moloch towering at the horizon. So one day I stepped up to my teacher and said "Yeah, I wanna do the Goldbergs." Turned out he hadn't even attempted to play it himself - not because he would be unable to do so, he was a fine pianist - but because he was opposed to playing a piece that's designed for 2 manuals on a single keyboard. In his view, it would be completely anti-ergonomical, if not anti-ethical to attempt it! But of course deliberations of practicality or morality didn't stop me and I spend some good time trying to get it into my fingers. Somehow I got to a point where most of the notes were there, mostly at the right places too, but a complete performance (with all repeats) would take like 2 hours or so. Still, again, fun times. As an organist, I never felt the urge to try it on a two-manual organ, strangely enough. To me, the style and structure of the piece doesn't suit the organ very well, and the existing recordings on organ don't really convince me. I feel the Goldberg Variations need the intimacy of a small room to convey their secrets to both the player and the audience. To that purpose, even an unideomatic piano is a much better vehicle for the piece than a big organ, with its liturgical connections and sonical expansiveness. Funny thing is: when played on the piano there are no impossible spots. And at the really gnarly passages, where your hands are literally fighting with each other for that tiny little space on the keyboard, it's the intellectual challenge that drives you forward more than the desire to solve the technical problem. Because in every note you taste Bach's wisdom and geniality, and with every "conquered" passage you feel you're one step closer to a discovering a truth that music rarely offers, not even Bach's music. The one other piece that reveals those same deep secrets to the player is the Diabelli-Variations. Maybe it's no coinidence that both pieces are in variation form. This forms seems most suitable to encompass "the world", to give you a the fullest possible range of complex emotions and experiences. So, to all the "secondary pianists" out there, I'd say: don't be scared and go climb those two mountains of the piano literature. Why bother with all the small hills out there, go for the Everest and K2! Even if you can't master the music completely on a technical level, you'll enjoy it and learn from it. Playing the music makes you "feel" it much more satisfyingly than listening to any recording will ever do. P.S. Dave, any plans for a talk about the Diabelli-Variations?

[@DavesClassicalGuide]

Sure.

[@BorjaVarona_at_YT]

I read one of Charles Rosen's books on piano music and pedagogy and I think that he would have probably agree with you.

[@huskydogg7536]

David I don't always agree with you but I always love your videos! You raise questions many of us have and it's a joy to hear the discussion generated by your soliloquies. In the words of Leonard Nimoy may you live long and prosper!

[@murraylow4523]

Very imaginative way of doing that Dave :) Its good to see Buxtehude coming up - in lockdown, I've been really enjoying listening to a load of his vocal works which aren't dreary or boring at all. They'd be great to drive to as well, I'd bet. On the piano I am happy with Schiff and Perahia, but thought I'd put in a word for Pierre Hantai on Harpsichord. His earlier version was on Opus 111 which I'm not sure exists any more, but he also did a very good remake on Mirare. Very nice sounding instruments both.

[@Geopholus]

David,I love Your reviews!!! So sharply observed, incisive, and smart, but tempered with tolerance, and kindness. There are many correct answers to performing any great composer's works... Also,...finally I have an answer to the meaning of "agogic" voice leading. That's a word that seems rarely defined outside of a good Music Conservatory, I am guessing, i seem to have arrived at a close approximation of it's meaning, although I have only heard, or seen it used twice. What a fine and necessary word!

[@patrickriedemann2450]

If you have a longer ride and already heard one of Dave's great recommendations and have one hour left, I would suggest the version of Wilhelm Kempff. Clearly not historically correct and not the most virtuosic , but different to all others and very beautiful. Finest nuances, singing lines, voices differentiated by color. Pure joy.

[@nealkurz6503]

Couldn’t agree more. Such a personal take on it, with great obliviousness to HIP concerns, but a logic and beauty (and complete lack of neurosis) that I can’t get enough of. And I love the original LP cover.

[@markmiller3713]

Kempff's version is delightful He's one of my favorite pianists.

[@michaelfournier7203]

Agree. One of the loveliest recordings of GV. The antidote to Lang Lang's mishigoss.

[@Zezahn]

Well, the Rubsam / Lautenwerk is a surprising find: after the first "what the heck" moment it really is liberating, singing and moving. I already loved Rubsam as an artist, this gives me more reason to keep on listening to him. Thanks again David!

[@jokinboken]

It was nice to hear Charles Rosen's name mentioned. I'm going to seek out his recording. I took a class of his in college on, what else, the Classical Style, and yes he could (and would) expound for 2 hrs at a clip, going far afield from the original topic, sprinkling in lots of musical examples at the piano, and somehow *always* bringing us back to the original topic by the end of class. His recording of the Elliot Carter piano sonata (on Naxos!) is incredible.

[@therealdealblues]

Funnily enough the Goldberg Variations are one of my favorite things to listen too when driving by myself. My favorite recording is Gould's digital one. I love his 1955 recording as well but there's a (and I hate to use this word) maturity to the later recording where I really feel he had internalized and thought about the performance to a much deeper degree based on a lifetime of experiences and just comes out as a much more personalized interpretation to me.

[@mercoid]

I’m 100% with you on that.

[@WoutDC]

Recently I commented on your Dave's Fave video on the Goldbergs that Perahia had become my favorite, well, I have to adjust my opinion: after properly considering and spending quite some time with the Kolesnikov recording, I think Kolesnikov's performance is one of the most impressive interpretations of any piano piece I have heard in the last years. It's just so bloody fun, joyful, all-embracing,...

[@GL-hk3xb]

I have got a copy of Goldberg variations performed by Ekaterinburg Dershavina after watching this video. I really enjoy the recording. Thanks David.

[@DavesClassicalGuide]

Any time! Glad you enjoyed it.

[@MrDale53]

The recordings on lute-harpsichord (lautenwerk) are very exciting for me. I LOVE the sound. You already mentioned Rubsam's performance. The first I encountered (and the only one there was for a while) was Gwendolyn Toth's. I've read that Bach had 2 lute-harpsichords in his home when he died, and that he very much liked the sound. No instruments survived anywhere, and they had to be reconstructed in the 20th century. I'm so glad they were! Some of the guitar transscriptions (esp. Salcito and Eotvos) I also find to be wonderful, even though they can't capture every note (except for Rodarmer who double-tracked his performance to get every note).

[@rbmelk7083]

Great recommendations! No mention though of the Joel Spiegelman version? It is certainly different and keeps me awake when driving!

[@AlexMadorsky]

Love the idea of mixing and matching one’s Goldberg choice on the basis of drive time. That lute-harpsichord clip is quite something, I’ll also check out the piano version by the pseudo-mystical Russian space cadet (whose name I’ve forgotten and will grab on rewatch). Sounds right up my street.

[@BorjaVarona_at_YT]

Thanks a lot to David Hurwitz for his engaging talk on the Goldberg. I agree with Alex in the incredible sound of the lute-harpsichord. I will keep on listening to that one!!!! I have listened to the Goldberg on piano more often than not, specially Schiff and Gould-81, but I dare recommending two perky transcriptions. Catrin Finch's for harp but, more spectacularly controversial, the Canadian Brass' for brass group. While some scholars would merrily prosecute these musicians for crimes against baroque music, I know some fellow musicians who have rediscovered Bach's world thanks to that sparkling transcription for brass instruments, and that is something positive.

[@colinwrubleski7627]

Any comments, whether from D.H. or the peanut gallery, regarding the Dmitri Sitkovetsky transcription / arrangement of the Goldbergs for string trio (one each of violin, viola, and 'cello)? This violinist / violist loves it, needless to say, but is curious to know if any astute listeners here share that opinion...

[@thomasschatton3481]

Great recommendations. One special version I really like - and you did not mention - is the arrangement for small orchestra by Józeph Koffler, played by the Royal Academy of Music Soloists Ensemble with guests from The Glenn Gould School, conducted by Trevor Pinnock on Linn Records. Anyhow: I really like you channel and the esprit and excitement you talk about different different recordings of a specific work of music. Greetings from Berlin, Germany!

[@DavesClassicalGuide]

Thank you!

[@hwelf11]

"...melody is simple the surface expression of an underlying scheme of harmonies..." This is also an excellent description of the basis of jazz improvisation.

[@eugenebraig413]

I loved this one, love this "series" if it's becoming such. I listen to music all the time (it's a buffer to help make my chronic tinnitus tolerable), but only find time to *really* listen-in the sense of deep contemplative attention-in the car. A dear friend and Steinway endorsee, Caroline Hong, has made a bit of a local cottage industry of doing uninterrupted, through performances of the Goldberg Variations. Good fun. I'm a huge Maggie Cole fan. I think her single disc of Soler sonatas functions as the reference recording of those select not-quite-Scarlatti works. As a weirdo, I also have a nice little collection of lautenwerk recordings. More good fun. Finally, while the organ wasn't quite my thang here, I think Sitkovetsky's arrangement for string orchestra (NES Chamber Orchestra with harpsichord in the continuo) was quite convincing and transformative of my perception in a non-organ good way.

[@leslieackerman4189]

You are so right about choosing THE BEST Goldberg. I can’t… many times the last one heard.

[@pbarach1]

Derzhavina also recorded all of the Haydn sonatas and variations---really well done.

[@MisterPathetique]

I have to second that, a real sleeper recording

[@heron6462]

I chose my recording of the Goldbergs, after much research, based on only one track: Variation 19. Most players rattle though it without much feeling, but I feel that its melancholic mood needs to be savored. Hakkinen does it best in my view. There is also a wonderful arrangement for reed instruments by the contemporary composer André Eshpai, whose madcap Concerto Grosso for trumpet, piano, vibraphone, double bass and orchestra *everyone* with a sense of fun should check out. Sorry to ramble, but rambling can lead to great discoveries.

[@kavansl8602]

Have you heard Kempff play this?

[@frankgyure3154]

Ohh gee,I just saw new release of Beethoven 7th by Teodor Currentzis. Could that be a future video(tongue-in-cheek).

[@whistlerfred6579]

I've actually used the Goldberg Variations for it's intended purpose - on restless nights when sleep is hard to come by. It seldom puts me to sleep but it does make staying awake a bit easier. I have other recording of Bach on the Lute-Harsichord, but not the Goldbergs, and, being a fan of that strange hybrid, I will definitely be checking out the Naxos recording. And I'm curious, admittedly in a can't look away from the train wreck fashion, in the CPO organ recording. Perhaps I'll queue it up on the next road trip. But I don't think I'll listen to it late at night.

[@mercoid]

For anyone interested in purchasing the Gould recording, I recommend the two disk set with both the ‘55 and ‘82 versions. There is also a bonus disc which includes and interview with Glenn by Tim Page.

[@MrDvdelft]

Zuzana Ruzickova appears on the Album cover with cigarette in her hands. How delightfully 1970'ies😊

[@johndillworth582]

as mentioned every 3rd variation is a Canon.....so, this is actually 10 groups of 3 variations. Easily digestible in small bites. The Adagio at variation 25 is the apotheosis of the work but you can't just jump there....you must arrive. My preferred version is the Schiff, not least of which for it's excellent liner notes and absolute love of the music. For what it's worth this is one of the pieces of music where Bach called out a specific instrument this was composed for and the modern piano had not yet been invented. I'm not a pianist but I've heard it said some of these variations are tough on the piano because your hands must constantly cross. A problem that one does not have on the harpsichord as it has 2 keyboards

[@howard5992]

There is a charming version for recorders performed by the Seldom Sene Recorder Quintet released on the Brilliant Classics label. It can't eclipse the many fine keyboard performances but it's a very nice alternative.

[@DavesClassicalGuide]

Kill me now.

[@gothardoaugusto3420]

I loved your video, Dave. Thank you for your hard work to explain all those infos. May I have a little concern about Gould if you allow me? Well, I understand and apreciate all his ability, his uniqyue techinique, etc. Excelent player. But my ear and listening are very sensitive to any sound out of the instrument it self. I just do not want to hear any, even tiny, noise coming from his mouth. Dave, I loved your video.

[@arturlascala]

Great selection! What do you think of Pierre Hantaï's recordings? His first one (1999 Naïve) is my personal favorite!

[@DavesClassicalGuide]

As a said, there are billion very good ones out there...take your pick.

[@neils.9846]

Mr. Hurwitz, I love JS Bach and really enjoy your reviews of the recordings of his music..I had an idea and wanted to share it with you. What about a video or series of videos on Bach's sons? You can call it "Sons of Bach" 😀 Just an idea I had.

[@DavesClassicalGuide]

I've already done plenty of CPE.

[@neils.9846]

@@DavesClassicalGuide I'll watch them. Thank you.

[@saltech3444]

Bach is great for driving for one massive reason: harpsichords have practically no dynamic range, so you don't miss out quiet passages, nor do you deafen your father, who is driving, when Beethoven decides to go apeshit on the Emperor Concerto! Bach on harpsichord is great for driving!! EDIT: Ah crap, I see dave already beat me to it :-D

[@Zezahn]

GV are indeed great road music! Kolesnikov is an extraordinary, exquisite interpretation in my book as well: original, but respectful. So is the more classically inclined Dershavina. I've a very, very soft spot for Koroliov's Bach and I find his Goldberg outstanding, actually I love his take more than the (admittedly beautiful) Perahia and Schiff. P.S. where I disagree with you, David, is on the dosage of Scarlatti: based on the rigorous scientific method of my personal taste, there's never too much Scarlatti, driving or sitting, and I find most good collections balanced between vitality and melancholy - but surely if one puts the 30 liveliest and bat-craziest Scarlattis all in the same playlist the musical caffeine could have some side effects

[@douglaspcollins4987]

A man of taste! I agree on the superiority of Koroliov.

[@BCTMarcus]

The Goldbergs are eternal. I have my own favourites, but I won't 'bother' you with them. Besides that: do you know the organ Goldbergs by Elena Barshai? (She was married to Rudolf Barshai, the conductor.) There's a chance you might like them better than the Middelschulte/Sonnentheil recording by CPO. It's really way more refreshing than that one, and actually a pleasure to listen to. It was recorded for the Raven label in 2007 and re-released on Brilliant Classics some 8 or 9 years ago.

[@marklee5777]

Dave, I must admit to a guilty pleasure. My favorite recording of the Goldberg Variations is a transcription for string orchestra, by one Dmitry Sitkovetsky & performed by the New European Strings Chamber Orchestra. Our transcriber is the first violinist. It's on the short side, 59:55. It is certainly not for purists. But, I enjoy it very much. If nothing else it proves Bach was one special composer. I'll bet you could play just about anything by Bach on any instrument/s, even on a kazoo, and it would sound good. One final thing. On the disc, it says the executive producer was one Robert Hurwitz. Any relation or just the coincidence of a common name? (Nonesuch 79341-2) Happy listening!!! Mark Lee Austin, Tx

[@DavesClassicalGuide]

No relation, and I agree, it's a fine performance.

[@jdistler2]

Interpretive variety within a Goldbergs interpretation really lends itself well to driving, and for that reason I'd make a special pitch for pianist Lori Sims' wonderfully imaginative live performance on the Two Pianists label, and for harpsichordist Mahan Esfahani on DG. If you want all of the repeats, but super fast to the point of brainless and just pure, untrammeled fun, Andrei Gavrilov on DG is your (speeding) ticket. All great choices, Dave, even if I still like the Kolesnikov Hyperion recording less than you! The one piano Goldbergs you should NOT drive with features a certain "priestess," and that recording always finds one "asleep at the wheel!"

[@DavesClassicalGuide]

Oh yes, the Priestess. Heaven help us!

[@francoisjoubert6867]

Hi Jed - I imprinted on the Van Asperen version and it still is one I enjoy. I also (ahem) - enjoy the Gold on Zenph, wizardry and all. And I believe Bach would have approved of the the Reger version by Tal & Groethuysen. A friend of mine always guarded against "gilding the lily", but I don't believe that is what they are doing here.

[@NemesisCOD]

Ever heard Anthony Newman's fiery harspichord recording (Sony, the one with the crazy fish cover art)? It's very "out there" and believe it or not I think even faster than Glenn Gould.

[@andreashelling3076]

What do u think of the string trio versions, quite many out there ....

[@harrycornelius373]

Perhaps a little off-piste but since we're driving I also like to listen to Jacques Loussie's jazz version of the Goldberg.

[@williamguerin6946]

Please check out the versions for button accordion on KZbin (there are a couple) as they seem like they’d be a joke but are surprisingly expressive.

[@williamguerin6946]

And completely musical.

[@DavesClassicalGuide]

It's your life.

[@rolandonavarro3170]

Dear Hurwitz: What about the two Angela Hewitt's recordings? In my opinion, she is a very good J. S. Bach interpreter nowdays. My best wishes from Colombia.

[@DavesClassicalGuide]

She's excellent, but as I said elsewhere, I just had to stop at 15--there are too many fine versions out there, which is why I waited so long to talk about the work and decided to talk about it from a special perspective.

[@michelangelomulieri5134]

My personal choice goes to Alexis Weissenberg because it seems to have all the colours existing on our planet earth displayed in front of us like a universal exhibition.

[@DavesClassicalGuide]

I was going to include that one but I just had to stop at 15! Thanks for mentioning it.

[@michelangelomulieri5134]

@@DavesClassicalGuide Hi Dave and I always keep on listening to your channel!

[@kavansl8602]

What do you think of the Kempff recording? I think of it as a German Romantic interpretation, in almost complete contrast to Gould. And have grown very fond of it, over the years.

[@DavesClassicalGuide]

If you like it, that is all that matters. I said previously that there are too many excellent versions to count, really.

[@kavansl8602]

@@DavesClassicalGuide I know, and people keep telling me this. But since I don't have any musical training whatsoever, I always wonder... Anyway, I really appreciate your little talks. They have made me listen to and appreciate a lot of the newer recordings.

[@patrickriedemann2450]

Kempff is wonderful in Bach. Not the only recording you should have, but one that I also enjoy quite often. From my perspective his lyrical, highly nuanced and colorful approach is not prototypical german-romantic, but uniquely Kempffian.

[@chrisnorlin57]

if the concern is that playing this on a pipe organ slows things down too much, the Gunther Rost version on Oehms manages to clock in at a mere 44:54.

[@Namuchat]

Hi Dave, would you consider to make videos for train rides? And for bicycles by the way?

[@jorge5150]

Dave, there are two recordings by Christine Schornsheim: the first from 1996 and the one you mention from 2016. I suppose the 2016 is the best ?

[@DavesClassicalGuide]

I think so--certainly better sonically too.

[@vishistaryan3883]

What's your take on Joao Carlos Martins's recordings Mr. Hurwitz?

[@DavesClassicalGuide]

What is yours?

[@vishistaryan3883]

@@DavesClassicalGuide His and Maria Tipo's version reveal the light and romantic side of Bach which is really attractive. You would think that you are listening to Chopin or someone like that!

[@DavesClassicalGuide]

@@vishistaryan3883 I agree. You described his performances very well.

[@jonathangoodman2636]

I am intrigued enough to own the Derzhavina, but it is nowhere online. Ideas?

[@DavesClassicalGuide]

Try spelling it Dershavina, as they do on the disc booklet.

[@jonathangoodman2636]

Not available, regardless of spelling, 'z' or 's'. As a practical man, I do wish recommendations were made with availability in mind. "Cheap, cheap" may have been true once, not now.

[@ggannuch]

@@jonathangoodman2636 They are available for purchase or streaming through Qobuz

[@frankgyure3154]

DH,,,great approach to the Goldberg. But did you include the variable of getting stuck in NY/CT traffic. So if you get stuck in traffic do you want a faster or slower. I would guess a faster to not fall asleep at the wheel. Anyway,to your video. I can’t stand Gould. I can’t stand harpsichord. I think Periaha is great,the Schiff you mentioned is a strong competitor. However,when you finish your travel and need to relax,sit back and luxuriate in Roslyn Tureck’s last recording(DG).

[@DavesClassicalGuide]

Tureck's is the dullest performance ever. You should avoid it like death.

[@williamwhittle216]

You forgot the arrangement for strings by Sitkovetsky, issued by Nonsuch. I have the recording on VAI by Roslyn Tureck.

[@DavesClassicalGuide]

I forgot nothing. I simply didn't mention it, deliberately so. It sounds lousy in a car. You forgot to mention why I didn't mention it.

[@pepperco100]

Count Kaiserling's private harpsichordist Johann Gottlieb Goldberg was only 14 years old!

[@DavesClassicalGuide]

But there was no legal driving age back then.

[@pepperco100]

@@DavesClassicalGuide lol

[@ralphbruce1174]

Scott Ross for me. And Landowska ( poor sound, bad instruments, but I like her very much). On the piano, Glenn Gould for sure....and the last Lang Lang did not catch me up.

[@stradivariouspaul1232]

Is one of the advantages of listening in the car that with the hum of the engine you can't hear Gould's awful humming?

[@DavesClassicalGuide]

Not really. It depends how quietly your engine runs.

[@stradivariouspaul1232]

@@thomass.9167 I realise my comment could be seen as incedury, I respect the views of people that are not bothered by the humming, personally it's as irritating to me as a persistent cough in the audience - my problem perhaps but a resl shame as it stops me enjoying his recordings as much as I should. I do find it curious how many fans overlook or even like it - how many would tolerate a conductor tapping their foot on the podium during a pianissimo?

[@stradivariouspaul1232]

@@DavesClassicalGuide my previous cars have never been that smooth David. By the way how have I missed Road Music no 1?

[@nealkurz6503]

@@DavesClassicalGuide made me think of your hilarious video where you compare remasterings of Gould recordings by singing. Could we have an recording of an hour of you singing for a car trip? Perhaps with a few well-placed gong detonations?

[@francoisjoubert6867]

@@DavesClassicalGuide , not everybody has a car where the loudest thing is the clock!

[@Nemo-vg7sr]

A pity you didn't include any arrangement for small ensemble. Particularly after thinking OK to martyrize us with that unspeakable organ transcription. And anyway, you did include modern piano...Maybe you are opposed to these arrangements by principle? Sure that's not the case. I think modern musicians that arrange this music, do so out of love. And being contemporary to us they somehow make the music also new, closer to us. My favourite is Maisky with Rachlin and Imai performing a string trio arrangement. It is trully a great version. It really is. More youthfully iconoclastic is the one from the Garnati ensemble from 2012

[@DavesClassicalGuide]

Sounds fine to me.

[@edwinbelete76]

I think I’d rather be sick with COVID than listen to the Goldberg Variations for 100 minutes on an organ. Ugh!

[@francoisjoubert6867]

There are worse things - imagine a version for organ duet.

[@edwinbelete76]

@@francoisjoubert6867 True. Good point 😊

[@Geopholus]

Certainly the organ chosen in the given example couldn't have been worse for the Goldberg variations, however, i have heard some pretty bright, and punchy small scale baroque organs, that could possibly be up to the challenge.

[@armandodelromero9968]

I thought you were gonna say HOWEVER and select... LANG LANG

[@DavesClassicalGuide]

Who?

[@armandodelromero9968]

@@DavesClassicalGuide They might provoke a massive car accident

[@pepperco100]

The origin of the aria is interesting! It's a very comical song Bach wrote for his wedding reception, wherein Bach explains that he got married because his bachelor meals did not satiate his appetite! Ich bin so lang nicht bei dir g’west, ruck her. Kraut und Rüben haben mich vertrieben hätt’ meine Mutter Fleisch gekocht wär’ ich länger blieben. Mein junges Leben hat ein End’. Was für Blödsinn ist dieses Schluβstück, Unsinn, Schwachsinn, Schmarrn, Schrott, Müll und Spinnerei, hört auf! Pfui! I haven't been with you in so long, come here. The stew has driven me away, If my mother had served me meat, I would have stayed longer. My young life is coming to an end. What nonsense is this ending, rubbish, folly, gossip, slapstick, fiddlesticks, swagger, stop! Bah!

[@JG_1998]

The organ version of the variations is one of the worst things I've ever heard. I can appreciate some organ music, but anything not written specifically for the organ sounds absolutely horrific. I actually started laughing when it started playing because it was even worse than I expected.