Uploaded April 2013 | Updated September 2026, 13 hours ago
Bach: Goldberg Variations Version For String Trio, BWV 988 | (Full Concert) "In Memoriam Glenn Gould"
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.
Bach's Goldberg Variations, like so many other of the master's works, proves remarkably adaptable for a string trio. Purists may balk at such arrangements, but Bach himself was an avid arranger of other composer's works, often shedding new light on them with his transfer to a different medium. That's what happens in Dmitri Sitkovetsky's arrangement of the Goldbergs for string trio, an ensemble that can -- and does, in this performance -- bring a greater tonal variety and expressiveness to the work than is available to the harpsichord. The trio members here are noted soloists in their own right, but play together beautifully as an ensemble. Rachlin's sweet-toned violin adds flavor, Imai's dusky viola projects inner lines with authority, and Maisky tones down his huge cello sound to provide a fitting foundation to the ensemble. Their light-hearted Variation 8, a Gigue, is aptly playful; Variation 21 gets a soulful performance, Variation 24 offers blistering virtuosity, while they demonstrate gentle sweetness and warmth in the Adagio, Variation 25. The music is marvelous, the playing superb, and the sonics are lifelike. This one should not be missed. -- Dan Davis
Product Description
CD W/Mischa Maisky, Nobuko Imai, Julian Rachlin
Audio CD (April 10, 2007
1. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria
2. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 1- 2- 3
3. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 4- 5- 6
4. Goldberg -- Variationen: Version For String Trio, BWV 988: Var 7- 8- 9
5. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 10-11-12
6. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 13-14-15
7. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 16-17-18
8. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 19-20-21
9. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 22-23-24
10. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 25-26-27
11. Goldberg -- Variationen: Version For String Trio, BWV 988: Var.28-29-30
12. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria da capo
en.wikipedia.org/wiki/Goldberg_Variations
Bach: Goldberg Variations Version For String Trio, BWV 988 | (Full Concert) "In Memoriam Glenn Gould"
The Goldberg Variations, BWV 988, is a work for harpsichord by Johann Sebastian Bach, consisting of an aria and a set of 30 variations. First published in 1741, the work is considered to be one of the most important examples of variation form. The Variations are named after Johann Gottlieb Goldberg, who may have been the first performer.
Bach's Goldberg Variations, like so many other of the master's works, proves remarkably adaptable for a string trio. Purists may balk at such arrangements, but Bach himself was an avid arranger of other composer's works, often shedding new light on them with his transfer to a different medium. That's what happens in Dmitri Sitkovetsky's arrangement of the Goldbergs for string trio, an ensemble that can -- and does, in this performance -- bring a greater tonal variety and expressiveness to the work than is available to the harpsichord. The trio members here are noted soloists in their own right, but play together beautifully as an ensemble. Rachlin's sweet-toned violin adds flavor, Imai's dusky viola projects inner lines with authority, and Maisky tones down his huge cello sound to provide a fitting foundation to the ensemble. Their light-hearted Variation 8, a Gigue, is aptly playful; Variation 21 gets a soulful performance, Variation 24 offers blistering virtuosity, while they demonstrate gentle sweetness and warmth in the Adagio, Variation 25. The music is marvelous, the playing superb, and the sonics are lifelike. This one should not be missed. -- Dan Davis
Product Description
CD W/Mischa Maisky, Nobuko Imai, Julian Rachlin
Audio CD (April 10, 2007
1. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria
2. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 1- 2- 3
3. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 4- 5- 6
4. Goldberg -- Variationen: Version For String Trio, BWV 988: Var 7- 8- 9
5. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 10-11-12
6. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 13-14-15
7. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 16-17-18
8. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 19-20-21
9. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 22-23-24
10. Goldberg -- Variationen: Version For String Trio, BWV 988: Var. 25-26-27
11. Goldberg -- Variationen: Version For String Trio, BWV 988: Var.28-29-30
12. Goldberg -- Variationen: Version For String Trio, BWV 988: Aria da capo
en.wikipedia.org/wiki/Goldberg_Variations
![Swan Lake Op.20 - Full Suite - Pyotr Ilyich Tchaikovsky (Full HD) Soundtrack Movie Black Swan 2010
Swan Lake Op.20 - Full Suite - Pyotr Ilyich Tchaikovsky Swan Lake Complete in HD Soundtrack Movie Black Swan 2010 Swan Lake (Russian: Лебединое озеро, Lebedinoye ozero) ballet, op. 20, by Pyotr Tchaikovsky, was composed 1875 1876. The scenario, initially in four acts, was fashioned from Russian folk tales and tells the story of Odette, a princess turned into a swan by an evil sorcerers curse. The choreographer of the original production was Julius Reisinger. The ballet was premièred by the Bolshoi Ballet on March 4 [O.S. February 20] 1877 at the Bolshoi Theatre in Moscow, billed as The Lake of the Swans
Artist:Herbert Von Karajan was an Austrian orchestra and opera conductor
Swan Lake Op.20-Suite, I. Scene (Swan Theme)
Swan Lake Op.20-Suite, Ii. Valse
Swan Lake Op.20-Suite, Iii. Danse Des Petits Cygnes
Swan Lake Op.20-Suite, Iv. Danse Des Cygnes Tempo Di Valse
Swan Lake Op.20-Suite, V. Danse Hongrois (Csardas) Swan Lake Op.20 - Full Suite - Pyotr Ilyich Tchaikovsky (Full HD) Soundtrack Movie Black Swan 2010](https://i.ytimg.com/vi/8UnkhYnWhm8/mqdefault.jpg)

![Gabriel Fauré - Sicilienne for cello & piano Op. 78 Marc Grauwels E Joris Van Den Hauwe Full HD
Gabriel Fauré - Sicilienne, for cello & piano, Op. 78 Opus 78 Full HD Gabriel Fauré, né à Pamiers le 12 mai 1845 et mort à Paris le 4 novembre 1924, est un pianiste, organiste et compositeur français. Gabriel Urbain Fauré (pronounced: [ɡabʁiɛl yʁbɛ̃ fɔʁe]; 12 May 1845 4 November 1924) was a French composer, organist, pianist and teacher. He was one of the foremost French composers of his generation, and his musical style influenced many 20th-century composers. Among his best-known works are his Pavane, Requiem, nocturnes for piano, and the songs Après un rêve and Clair de lune. Although his best-known and most accessible compositions are generally his earlier ones, Fauré composed many of his greatest works in his later years, in a harmonically and melodically much more complex style. Marc Grauwels, Joris Van Den Hauwe, Andre Vandernoot & Belgian Radio and Television Philharmonic Orchestra Gabriel Fauré - Sicilienne for cello & piano Op. 78 Marc Grauwels E Joris Van Den Hauwe Full HD](https://i.ytimg.com/vi/9KQcz8wnSP0/mqdefault.jpg)

![L. V. Beethoven - Piano Sonata No. 32 In C Minor, Op. 111 (HD)
Beethoven Piano Sonata No. 32 In C Minor, Op. 111 Opus 111 The Piano Sonata No. 32 in C minor, Op. 111, Full Concert HD is the last of Ludwig van Beethovens piano sonatas. Along with Beethovens 33 Variations on a waltz by Anton Diabelli, op. 120 (1823) and his two collections of bagatelles—Opus 119 (1822) and Opus 126 (1824)—this was one of Beethovens last compositions for piano. The work was written between 1821 and 1822. Like other late period sonatas, it contains fugal elements.
Structure
The work is in two highly contrasting movements:
Maestoso - Allegro con brio ed appassionato
Arietta: Adagio molto, semplice e cantabile
The first movement, like many other works by Beethoven in C minor (see Beethoven and C minor), is stormy and impassioned. It abounds in diminished seventh chords, as in for instance the first full bar of its opening introduction:
The final movement, in C major, is a set of variations on a 16-bar theme, with a brief modulating interlude and final coda. The last two are famous for introducing small notes which constantly divide the bar in 36 resp. 27 parts, which is very uncommon. Beethoven eventually introduces a trill which gives the impression of a further step (i.e. dividing each bar into 81 parts), though this is extremely technically difficult without slowing down to half-tempo.
Beethovens markings indicate that he wished variations 2-4 to be played to the same basic pulse as the theme, first variation and subsequent sections (using the direction Listesso tempo at each change of time signature). However, performance practice today often makes the theme and first variation slow, with wide spaces between the chords, and lets the third variation, which has a powerful, stomping, dance-like character with falling 32-part notes, come out much faster and with heavy syncopation. Mitsuko Uchida has remarked that this variation, to a modern ear, has a striking resemblance to cheerful boogie-woogie,[2] and the closeness of it to jazz and ragtime, which were still eighty years into the future at the time, has often been pointed out.[who?] Typical performances take 8 to 9 minutes for the first movement, and 15 to 18 minutes for the second.
The work is one of the most famous compositions of the composers late period and is widely performed and recorded. The pianist Robert Taub has called it a work of unmatched drama and transcendence ... the triumph of order over chaos, of optimism over anguish. and Alfred Brendel commented of the second movement that what is to be expressed here is distilled experience and perhaps nowhere else in piano literature does mystical experience feel so immediately close at hand.
Asked by Anton Schindler about the work only having two movements, which is unusual for a classical sonata but not unique in Beethovens piano output, the composer is said to have replied I didnt have the time to write a third movement. However, this may have just as easily been the composers prickly personality shining through since the balance between the two movements is so perfect as to obviate the need for a third.
History of the work
Beethoven conceived of the plan for his final three piano sonatas (op. 109, 110 and 111) during the summer of 1820, while he worked on his Missa Solemnis. Although the work was only seriously outlined by 1819, the famous first theme of the allegro ed appassionato was found in a draft book dating from 1801 1802, contemporary to his Second Symphony. Moreover, the study of these draft books implies that Beethoven initially had plans for a sonata in three movements, quite different from that which we know: it is only thereafter that the initial theme of the first movement became that of the String Quartet No. 13, and that what should have been used as the theme with the adagio—a slow melody in A-flat major—was abandoned. Only the motif planned for the third movement, the famous theme mentioned above, was preserved to become that of the first movement.[7] The Arietta, too, offers a considerable amount of research on its themes; the drafts found for this movement seem to indicate that as the second movement took form, Beethoven gave up the idea of a third movement, the sonata finally appearing to him as ideal L. V. Beethoven - Piano Sonata No. 32 In C Minor, Op. 111 (HD)](https://i.ytimg.com/vi/CIRkBvDCb54/mqdefault.jpg)





