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Johann Sebastian Bach – Composer – Goldberg Variations BWV (Sitkovetsky version) – Music Sales Classical. The Russian-born violinist Dmitry Sitkovetsky, who founded the New European Strings Chamber Orchestra in , has enthusiastically. View credits, reviews, tracks and shop for the CD release of Goldberg Variations on Discogs.

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A renaissance man and a magnetic creative force, Dmitry Sitkovetsky has made a considerable impact on every aspect of musical life and has been successful as a performer, creator dmihry facilitator for over four decades.

The Art of Transcription – JS Bach arrangements for String Trio by Dmitry Sitkovetsky

You must have JavaScript enabled in your browser to utilize the functionality of this website. The New Yorkerin a review of this recording, wrote: There followed a version for string orchestra that has been performed worldwide.

His enviable career as a violin soloist is documented in several dozen recordings of all major concertos and a wide selection of chamber repertoire. You are here Home.

Often the sound has orchestral weight and fullness. The performance is energetic yet not rushed. The arranger applies pizzicato and other effects wisely and effectively; everything is stylish and never crosses the line of good taste.

Bach: Goldberg Variations | Nonesuch Records – MP3 Downloads, Free Streaming Music, Lyrics

The great Variation 25 has a throbbing pulse: I cannot imagine more gripping accounts. Friday, May 12, – Sitkowetskis Wahl des Streichtrios liefert einige faszinierende Resultate. Sitkovetsky achieved unprecedented candor and intimacy in these conversations. Bach thought he could best fulfil this wish with some variations … The Count henceforth referred to them only as his variations.


The grand chords of variation 29 are also persuasively transcribed. For two months I probably had the time of my life, musically speaking, being in the constant company of Johann Sebastian Bach and Glenn Gould.

The Goldberg Variations stands as one of the greatest keyboard works ever written. I have made some changes in orchestration, probably influenced by my String Orchestra transcription ofbut most of all I tried to inject some fresh, youthful energy to propel the piece from the beginning to end. The acoustics are very spacious, the sound is palpable and the music seems clad in bright gold – a true celebration!


Generally, at that time, transcriptions were out of fashion and I recall that ddmitry own colleagues and managers were sceptical about such an audacious idea.

Man stellt sich Bach oft als Komponisten vor, dessen Musik erst im But who was Goldberg, and how does he fit into the story of these famous variations?

This is good for some pieces, whose singing melodies now sound more natural. In variation 5, Dmitr resists the temptation to write a third part, while the two-part texture of variation 6 is cleverly redistributed between the three instruments—leaving it as a two-voice jig—as it is in variation In seiner Biografie schildert Forkel, dass der Graf sich oft in Leipzig aufhielt, und […] Goldberg mit goldbetg brachte, um ihn von Bach in der Musik unterrichten zu lassen.


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Voici ce que relate Forkel dans sa dmutry He could not get enough of them, and for a long time, whenever sleepless nights came, he would say, Dear Goldberg, do play me one of my variations. Given his ability to turn any project into a highly anticipated artistic event, Mr.

In the booklet Sitkovetsky tells the story the arrangements. By submitting my information above, I acknowledge that I have reviewed and fmitry to the Privacy Policy and Terms of Useand I agree to receive updates and marketing messages from time to time from Nonesuch and its affiliates.

Johann Sebastian Bach

Tempos are well chosen, and if the players are a little short of Baroque period credentials, they produce a crisp tone with little vibrato, and offer such an abundance of riches that one readily forgets such reservations. The site is also available in several languages.

Please fill out the vagiations information. It was a hit! It was 25 years after the piece was first transcribed, I had performed it many times and heard different adaptations of it, so I felt the need to return to a simpler version with hardly any repeats at all.