Showcasing the organ’s prowess with Bach’s Goldberg Variations
There’s a simple reason why Felix Hell is touring North America with his transcription of the “Goldberg Variations” rather than pieces J.S. Bach composed specifically for the organ. And for all of you organists out there, don’t get your stop knobs in a knot when you hear it.
“Some organists might crucify me for saying this,” warned the German-born Hell, 32, over the phone from his home near Baltimore, Maryland, last week. “So, this is not to sound in any way arrogant or ungrateful or not loving the organ works of Bach. But the reality is that the majority of Bach’s organ works, which were primarily composed while he was in Weimar, are much younger pieces and much less mature than, for example, his cantatas and his late keyboard works, the ‘Great Eighteen Chorale Preludes,’ the ‘Art of the Fugue’ or the ‘Goldberg Variations’ or even the ‘Clavier Uebung’ (Keyboard Practice) Part III, which was written in Leipzig. In the ‘Goldberg Variations,’ I have access on my instrument to some of the best of the best music he composed.”
The so-called “Goldberg Variations” was published in 1741, nine years prior to Bach’s death, and comprise the entire Part IV of his “Clavier Uebung” series. The work is actually entitled (in English translation) “Aria with Diverse Variations for Harpsichord with two manuals.” The “Goldberg” moniker stems from an anecdote related by Bach biographer Johann Forkel who, in 1802, wrote that the piece came about when a gentleman in Dresden requested Bach compose some pieces that his house harpsichordist, 14-year-old Johann Goldberg, could play to cheer him up during his insomnia.
Nice tale, but likely not true. For starters, the piece contains no dedication, something that would have been de rigueur back in the day. And though Bach did compose works for young fry, his own nine-year old son, Wilhelm Friedemann, as one example, the “Aria with Diverse Variations” isn’t one of them.
Bookended by a gentle, 32 bar aria, the 30 variations display Bach’s prowess at composing beautiful yet virtuosic music as well as canons in which a melody stated in one part is imitated in its entirety in one or more other parts (think “Row, Row, Row Your Boat” as a simple example of a canon). Without getting too deep into the piece’s architecture, every third variation is a canon. These canons are placed in an ascending order of intervals beginning with a canon at the unison and progressing to a canon at the ninth for Variation 27. For Variation 30, instead of another canon, Bach composed a quodlibet, simultaneously combining two German folk songs.
When one speaks about the “Goldbergs,” the late great Canadian pianist Glenn Gould’s two recorded traversals spring to mind. The first, a bestseller released in 1956, took the “Goldbergs” from fringe esoterica and made it into a household name. Yet, over the years the piece has also been arranged or transcribed for two guitars, for string trio, for harp, as well as for organ by Jean Guillou who recorded
it for Dorian in 1988.
“There are multiple recordings of the ‘Goldberg Variations’ for the organ,” said Hell. “But for some reason throughout the many years I’ve been active on the concert scene, I have only once seen them programmed in recital and never again. And they make fantastic concert music.”
Fantastic concert music with which Hell wants to bridge audiences.
“I think it (the “Goldbergs”) builds a crossroad between people who love high quality classical music but who normally would not attend organ recitals,” said Hell. “I feel that through the ‘Goldberg Variations’ I can attract people to organ concerts and open their eyes as to how the organ can be a concert instrument.”
On Wednesday, Oct. 11 at 8 p.m., Hell returns to Hamilton for the fifth time as the Royal Canadian College of Organists — Hamilton Centre presents him performing his transcription of the “Goldbergs” at Central Presbyterian, 165 Charlton Ave. W. Hell’s pre-concert talk begins at 7:15 p.m. Tickets at the door are $35, student $15. Tickets online at ticketfly.com or via brottmusic.com are $33.49.
Saturday, Oct. 7 at 3 p.m., Five at the First Chamber Music Series presents flutist Leslie Newman, cellist Roman Borys, and pianist Jeanie Chung in works by Schwantner, Poulenc, Prokofiev, and others at First Unitarian, 170 Dundurn St. S. Tickets: $20, senior $15, student/unwaged $5, under 12 free.
Saturday at 4 p.m., Hammer baroque presents the Toronto Consort in “Shakespeare’s Songbook” at The Rock on Locke, 320 Charlton Ave. W. Suggested donation: $15.
On Oct. 11 and 12, the Brott Festival presents “All Aboard — A Celebration of Immigration” at LIUNA Station, 360 James St. N. For details, visit brottmusic.com.
I can attract people to organ concerts and open their eyes. FELIX HELL