J. S. Bach - Goldberg-Variations

J.S. Bach - Goldberg-Variationen Veronica Kraneis (Querflöte), Paul Wiederin (Viola), Barbara Brauckmann (Violoncello)


1. Aria anhören
2. Variatio 1 anhören
3. Variatio 2
4. Variatio 3 - Canone all' Unisono
5. Variatio 4
6. Variatio 5
7. Variatio 6 - Canone alla Seconda
8. Variatio 7
9. Variatio 8
10. Variatio 9 - Canone alla Terza
11. Variatio 10
12. Variatio 11
13. Variatio 12 - Canone alla Quarta
14. Variatio 13
15. Variatio 14
16. Variatio 15 - Canone alla Quinta
17. Variatio 16
18. Variatio 17
19. Variatio 18 - Canone alla Sesta
20. Variatio 19
21. Variatio 20
22. Variatio 21 - Canone alla Settina
23. Variatio 22
24. Variatio 23
25. Variatio 24 - Canone all' Ottava anhören
26. Variatio 25
27. Variatio 26
28. Variatio 27 - Canone alla Nona
29. Variatio 28 anhören
30. Variatio 29
31. Variatio 30
32. Aria da capo


In 1742, J. S. Bach published the Goldberg Variations under the following title:
Piano exercises consisting of one ARIA with manifold variations for clavicimbal with two manuals, thought for the lovers of such for their enjoyment, composed by Johann Sebastian Bach, composer for the Royal Court of Poland and the Elector Palatinate of Saxony, conductor and Directore Chori Musici in Leipzig.

If one dares to ignore such explicit directions and to transcribe this music to be played by a flute, a viola and a violin-cello, the only way is to totally immerse oneself in it, to get to know it inside-out, - and to enjoy it. That is the only legitimate reason for this adventure. The Goldberg Variations mark the beginning of what we consider Bach' s late work.

Around 1730 there is a change to be heard in his music: the music he needed for his professional work has already been composed, now he has the time to explore music as "ars", as the refined and educates art it is meant to be, and to show off his expertise in realms of philosophy and mathematics. He particularly chooses the canon to demonstrate his musical skills. The multitude of musical sentences, the rhythmical movements, the expressive character and the brilliant virtuosity led this cycle such a unique character, - an enlightened mind at play, or that of playful enlightenment.

The work is constructed in the following way:
Aria (theme) - 30 variations - Aria da Capo. The line of variations is bisected.

The 16th variation begins with an overture. A sub-grouping is achieved by turning every third phrase into a canon, whereas the imitation intervals by and by rise from unison to a ninth. A quodlibet humorously ends the last group of variations. Two traditional airs are interwoven with the theme of the work.

Veronica Kraneis, Paul Wiederin and Barbara Brauckmann live and work in Kassel. Veronica Kraneis initiated the transcription project. This intriguing cooperation has since been continued and presented at concerts and now also on this CD.

Veronica Kraneis

At the age of 15, junior-student of H. P. Schmitz. After graduating from school studies with P. Meisen, as well as a guest student with J. P. Rampal and others.
Played as a soloist and in orchestras conducted by K. Richter, S. Celibidache, D. Katkus, M. Blankenberg and many more. Lectured as a visiting professor, went on international tour, such as in Australia, Japan and Europe.
Contemporary composers have dedicated substantial work on the artist (among other Jaime Zenamon, Viera Janarcekova). Additionally, the artist established herself in the areas of jazz, tango and flamenco.
As a much requested interpreter of differing styles, she manages to infuse concerts, radio-appearances and CD-recordings with the sheer joy of playing.

Paul Wiederin

Studied at the Konservatorium Feldkirch and at the Vienna Hochschule für Musik.
Already as a student recipient of various awards; scholarship holder of the Vorarlberg State Government.
Viola soloist in the Philharmonic Orchestra Freiburg, as well as the Bruckner Orchestra, Linz and the Mozarteum Orchestra, Salzburg.
Since 1990, he has been engaged as a viola soloist of the Kassel Staatstheater, but also plays as a member of the Mozarteum Quartett, Trio Assiano and other ensembles.

Barbara Brauckmann

Studied with L. Hoelscher and M. Gendron. Scholarship holder of the Studienstiftung des Deutschen Volkes. Concert examination at the Musikhochschule Stuttgart.
1970 to 1976 violoncellist for the Kreuzberger Streichquartett. Together with this quartet recipient of the 1st prize at the International Competition in Geneva.
Concerts with (among others) the pianist and composer Toyoko Yamashita.
1987 to 1998 lecturer at the Akademie für Tonkunst in Darmstadt.

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