This may be part of the humorous aspects of the quodlibet being expressed this way. Somehow these ‘endings’ seem slightly out of place as they come in at the wrong octave or in a different voice than expected. There is an interesting similarity of this folksong with a well-known chorale as well:ģ) By far the most extensively exploited folksong is “ Kraut und Rüben” (the German ‘ Bergamasca,’ etc.) Its first verse is quoted entirely, however the concluding part “ hätt’ mein’ Mutter Fleisch gekocht, wär’ ich länger blieben” occurs only twice at the end of each section of the variation, once in the tenor and finally in the soprano/descant. The conclusion of the first line of the folksong occurs only the first time at the very beginning (dark green.)
Follow the red note markings and you will find the final entrance beginning with the pickup note at the end of the 12 th measure, this time in the tenor as a ‘Canone alla Quarta’ compared to the first entrance. This last entrance is once again repeated in the alto without any change of interval. This folksong is first presented as a ‘Canone all’ Ottava’ with its second entrance in the descant coming a measure after the first one. (Schulenberg and Williams seem to overlook it entirely.) The continuing musical line (dark green) is still a part of the first line of this melody and text (the text is now below the notes.) This section of the melody is frequently lost ‘in the shuffle’ and sometimes it is not even mentioned at all. It is printed here in dark blue.Ģ) The first of the two famous folksongs quoted, “Ich bin so lang nicht bei dir g’west,” begins with the very first note in the tenor (in red.) The text is placed above it as closely as possible. Its purpose in the Quodlibet is to return back it back to its basic original form, a form also stated clearly in BWV 1087 as the first of the canons listed there. It is found in the ‘Aria’ and Variation 22 expressly stated. Refer back to this illustration as needed:ġ) The opening bass line is one of the few clear statements of the underlying bass melody for the entire set of variations.
#BACH GOLDBERG VARIATIONS SOFTWARE#
In order to highlight more effectively the distinctive, recognizable elements contained in this variation, I have used capella notation software to render the NBA V/2 BWV 988/30 printed music in a form more easily recognizable at a glance than specific references to measure numbers and voice parts would be.
#BACH GOLDBERG VARIATIONS SERIES#
To be sure, some of the folksong quotations that Bach uses here provide for comic relief in a composition designed for serious study and practice by musicians/composers (despite, or in addition to, Bach’s claim that Klavierübung IV was ‘dedicated to providing delight to the souls of connoisseurs (non-performers/composers’ – ) A closer examination of the 30 th variation will reveal that Bach did not intend it as a final ‘throw-away,’ ‘filler’ variation simply to amuse the audience with a few incongruous snippets of melody seeming to have little or nothing to do with all the previous variations nor, as suggested by a Bach scholar, a “ Kehraus” On the contrary, it serves as a quasi-summary while also functioning as a bridge to what will follow or even toward a possible extension of the series and it is a prime example of the consummate artistry of Bach as a composer.
The Quodlibet as Represented in Bach’s Final Goldberg Variation BWV 988/30īach’s use of the quodlibet in ‘Variatio 30’ of the Goldberg Variations BWV 988 in many ways does not conform to the usual definition of ‘quodlibet.’ Bach, ever the innovator, goes beyond the limitations of the established form and function of the quodlibet and elevates it to new heights far beyond the usual inane, non-sequitur combination of incipits and snippets derived from popular folksongs and presented as humorous entertainment.
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