ARIA I Variation 1 - Sei Lob und Ehr’ dem höchsten Gut Variation 2 - Sehet welch eine Liebe Variation 3 - “Nun” Variation 4 - Bleib bei uns, denn es will Abend werden Variation 5 - Nun komm Variation 6 - Es ist genug Variation 7 - Instrumental Variation 8 - Instrumental Variation 9 - Es ist euch gut, daß ich hingehe Variation 10 - Ich bin vergnügt mit meinem Glücke Variation 11 - Wo gehest du hin? Variation 12 - Ich ruf zu dir Variation 13 - Ruhe sanfte, sanfte Ruh! Variation 14 - Instrumental Variation 15 - Weinen, Klagen, Sorgen, Zagen, Angst und Not Variation 16 - Instrumental Variation 17 - Instrumental Variation 18 - Laßt uns sorgen, laßt uns wachen Variation 19 - Wachet auf Variation 20 - Komm Variation 21 - Ich bin ein Pilgrim auf der Welt Variation 22 - Instrumental Variation 23 - Instrumental Variation 24 - auchzet Gott in allen Landen! Variation 25 - Ich steh’ mit einem Fuß im Grabe, bald fällt der kranke Leib hinein Variation 26 - Tönet, ihr Pauken! Erschallet, Trompeten! Variation 27 - Wachet! Betet! Betet! Wachet! Variation 28 - “Nein”, “ja” Variation 29 - “Hahaha”, “hik” Variation 30 - Kraut und Rüben ARIA II
Since the beginning of the 19th century there have been numerous adaptations and arrangements of the Goldberg Variations. The work was obviously composed for a keyboard instrument, but the contrapuntal style of writing makes it very appealing for performance with other instrumental ensembles; imitations and canons form the core of the ‘keyboard practice’. The variations are predominantly three- or four-voice, with a clear harmonic progression and a melodic range appropriate for most instruments. The Goldberg Variations is full of fine melodies, canons and fugues. Some of the variations were originally from songs, such as the Aria and the Quodlibet; other variations almost beg to be sung. That is why the idea was born to rewrite the Goldberg Variations for 16 voices. It was challenging to produce an arrangement which sounds like authentic Bach vocal music; not sung keyboard music, but an idiomatic management of the choir, using vocal lines and singable melodies with text for articulation and phrasing. Not a literal arrangement, but a re-composition of the Goldberg Variations. In Gustavo Trujillo’s re-composition the choir is combined with a small baroque ensemble consisting of a string quartet and three woodwinds who play variously recorder, oboe, oboe d’amore and bassoon. The voices and instruments are closely intertwined, and take over from and support each other. Each variation is played by a different combination with a different texture and tone colour; voices and instruments alternate in a principal or supporting role. Each instrument has one major solo role in the whole work. The tempi and styles have sometimes been significantly modified to enhance particular harmonic effects. Melodies have been shifted and dissonants and appogiaturas extended; tone colours have been substituted within a single musical line; additional contours have been created by the text; all of these make the sung Goldberg Variations on this CD an exciting new and old work. The chamber choir PA’dam is a contemporary ensemble consisting of versatile, ambitious and independent professionals, under the energetic leadership of conductor Maria van Nieukerken. PA’dam distinguishes itself by its entrepreneurial attitude, eclectic programming and original approach. A good example of this is the theatrical production and CD based on the vocal version of Bach’s Goldberg Variations.
ARIA I
