Gilded Goldbergs op. 86(1992-97)100' freely re-composed for two pianos after J.S.Bach
This work is available from Boosey & Hawkes
for the world.
Finella, Cambridge various pianists in relay
My elaboration for two pianos of the complete Goldberg Variations must surely be the most extended and elaborate act of “re-composition” in an epoch where, ever since Ravel’s Couperin, Strauss’s Lully and Stravinsky’s Pergolesi, this fascinating aspect of music-making has bloomed ever more abundantly. J.S. Bach with his foundations in mighty structure and his head in the starry heavens, has of course been the principal focus: Busoni, Schönberg, Webern, Berg, Stravinsky again, Koechlin, Grainger, Nancarrow, Kurtág are only a few of the illustrious masters who have paid their homage in their various ways.
Beginning and ending with simple transcription, the Gilded Goldbergs open out in ever-widening curves of exploration—of melodic, harmonic, polyphonic enrichment, of stylistic transformation and pianistic techniques. The result is a virtual encyclopaedia of twentieth-century practice, a tribute to modernism (and romanticism) as much as to Bach, embracing an emotional range from melancholic introspection to crashing triumph, extending en route to satire, burlesque, post-modern “poly-stylism”, cubism, futurism, bravura, and peasant bonhomie. Yet because every individual number is dedicated to a friend “pictured within”, the whole enterprise is infused with the tender warmth of domestic music-making.
—Robin Holloway, 1998
Reproduction Rights: This programme note may be reproduced free of charge in concert programmes with a credit to the composer.
Jennifer Micallef and Glen Inanga Hyperion CDA 67360