Johann Gottlieb Goldberg: Difference between revisions

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[[File:Bach-goldberg-var10.png|thumb|375px|Bach-goldberg-var10 ''Goldberg'' variation 10]]

'''Johann Gottlieb Goldberg''' ({{IPA-|de|ˈɡɔltbɛɐ̯k|lang}}; baptized 14 March 1727 – 13 April 1756) was a [[History of Germany#Foundation of the Holy Roman Empire|German]] virtuoso [[harpsichord]]ist, [[organ (music)|organist]], and composer of the late [[Baroque music|Baroque]] and early [[Classical music era|Classical]] period. He is best known for lending his name, as the probable original performer, to the renowned ''[[Goldberg Variations]]'' of [[Johann Sebastian Bach|J. S. Bach]].

Goldberg was born in [[Gdańsk|Danzig]] (Gdańsk), [[Royal Prussia]] (a part of the [[Crown of Poland]]), and was [[baptized]] there on 14 March 14, 1727 at [[St. Mary's Church, Gdańsk]].<ref>{{cite web|url=http://goldbergfestival.pl/en/johann-gottlieb-goldberg/ |title=Johann Gottlieb Goldberg |access-date=8 May 2014-05-08 |url-status=dead |archive-url=https://web.archive.org/web/20131221092455/http://goldbergfestival.pl/en/johann-gottlieb-goldberg/ |archive-date=2013-12-21 December 2013 |website=Goldberg Festival }}</ref><ref name="Gloeckner2002">{{cite web |last1=Glöckner |first1=Andreas |title=Johann Gottlieb Goldberg |url=https://www.mgg-online.com/article?id=mgg05446&v=1.0&rs=mgg05446 |website=www.mgg-online.com |access-date=13 June 2018 |language=de |date=2002}}</ref> Little is known for certain about his childhood, other than that he was an exceptionally talented performer,{{citation needed|date=May 2022}} attracting the attention of [[Hermann Karl von Keyserling]]k, the [[Imperial Russia|Russian]] ambassador to [[Saxony]], around 1737. Goldberg was reported to have studied with both [[J. S. Bach]] and [[Wilhelm Friedemann Bach]], J.S. Bach's eldest son, though the periods of study are not known; Goldberg may have studied with J. S. Bach as early as 1737, shortly after KeyserlingkKeyserling recognized his talent in Danzig, and Goldberg may have studied with W. F. Bach at any time before 1745, since W. F. Bach was in [[Dresden]] throughout KeyserlingkKeyserling's tenure there as ambassador.

The most famous part of Goldberg's life is the portion, probably in 1741, recounted by J. S. Bach's biographer [[Johann Nikolaus Forkel]], which involved the composition of a set of [[variation (music)|variations]] by Bach to help the [[insomnia]]c Count KeyserlingkKeyserling pass sleepless nights. KeyserlingkKeyserling's favorite chamber harpsichordist was the 14-year-old Goldberg, whose technical accomplishments were so spectacular that they made it possible for him to perform a work of such extraordinary difficulty. According to Forkel, writing in 1802, sixty years after the event:

:"<blockquote>...[the count] ... often stopped in [[Leipzig]] and brought there with him the aforementioned Goldberg, in order to have him given musical instruction by Bach. The count was often ill and had sleepless nights. At such times, Goldberg, who lived in his house, had to spend the night in an antechamber, so as to play for him during his insomnia. ... Once the count mentioned in Bach's presence that he would like to have some clavier pieces for Goldberg, which should be of such a smooth and somewhat lively character that he might be a little cheered up by them in his sleepless nights. Bach thought himself best able to fulfill this wish by means of Variations, the writing of which he had until then considered an ungrateful task on account of the repeatedly similar harmonic foundation. But since at this time all his works were already models of art, such also these variations became under his hand. Yet he produced only a single work of this kind. Thereafter the count always called them ''his'' variations. He never tired of them, and for a long time sleepless nights meant: 'Dear Goldberg, do play me one of my variations.' Bach was perhaps never so rewarded for one of his works as for this. The count presented him with a golden goblet filled with 100 ''[[louis-d'or]]''. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for."<ref>[[Ralph (translation taken fromKirkpatrick|Kirkpatrick, Ralph]] Kirkpatrick's(1938) editionEdited ofscore to the ''[[Goldberg Variations]]'',. cited below)New York/London: G. Schirmer. Contains an extensive preface by the editor and a facsimile of the original title page.</ref></blockquote>

The accuracy of the story recounted by Forkel has often been questioned, and indeed may have been embellished by Bach's enthusiastic biographer. However Goldberg was known as a virtuoso performer at the time, was in the employ of KeyserlingkKeyserling at the right time, and was also most likely in [[Leipzig]], based on the similarity of the cantatas he composed to those by Bach; a teacher-student relationship has been suggested by many scholars on the similarity of the cantatas alone.

Goldberg's presence in Leipzig can also be ascertainedverified becausedue ofto the presence of performance parts for one of his cantatas, {{lang|de|Durch die herzliche Barmherzigkeit}}.<ref name="Gloeckner2002"/>

Goldberg remained with Count KeyserlingkKeyserling until around 1745, and disappears from the historical record until around 1750, when he was included in a concert described by [[Wilhelm Friedemann Bach|W. F. Bach]] in a letter of 1767. In 1751 Goldberg was hired by Count [[Heinrich von Brühl]], andwho hehad previously employed [[Gottlob Harrer]]. He remained in the employ of Brühl for the rest of his short life.{{citation needed|date=June 2018}} He died of tuberculosis at the age of 29 and was buried in Dresden on 15 April 1756.<ref name="Gloeckner2002"/>

Goldberg's works, while much less famous than the composition by Bach that used his name, varied widely in style, showing influences from most of the musical trends during that transitional period in music history. His earlier works are similar to those of J. S. Bach, and suggest that the story he studied with the famous composer may be true; his later works show that he was sensitive to the popular tastes of the Dresden court, especially in his use of the [[galant]] style. Some of his last works, especially the concertos, use a sophisticated harmonic language akin to that of Bach's son [[Carl Philipp Emanuel Bach|Carl Philipp Emanuel]], and were probably written for the musicians of [[Heinrich von Brühl]]. [[Syncopation]], [[chromaticism]], and melodies with a wide range are characteristic of these later works.

He wrote [[cantata]]s while a student of Bach, for instance, around 1745–46, ''[[Durch die herzliche Barmherzigkeit]]'', a [[List of church cantatas by liturgical occasion#St. John's Day (24 June)|church cantata for the feast of St. John the Baptist]].<ref>Bach Digital Work {{BDW|9155}} at {{url|www.bach-digital.de}}</ref> His output furtheralso includes six [[trio sonata]]s (among which {{ill|BWV&nbsp;1037|scores|Trio Sonata in C major, DürG 13 (Goldberg, Johann Gottlieb)}} previously attributed to Bach); keyboard music, including 24 [[polonaise (dance)|polonaise]]s, one in each of the major and minor keys; [[concerto]]s for harpsichord; and a set of [[chorale prelude]]s which has been lost.{{sfn|Dürr|1954}}

=='''Further reading=='''

* Norman Rubin, Norman (1980) "Johann Gottlieb Goldberg". ''The New Grove Dictionary of Music and Musicians'', ed. Stanley Sadie. 20 vol. London,: Macmillan Publishers Ltd., 1980. {{ISBN|1-56159-174-2}} (Note: this article is identicalIdentical to that in the current online version of the [[New Grove]])

* EntrySlonimsky, onNicholas, editor (1993) "Johann Gottlieb Goldberg" in ''The Concise Edition of Baker's Biographical Dictionary of Musicians'', 8th ed. Revised by Nicolas Slonimsky. New York,: Schirmer Books, 1993. {{ISBN|0-02-872416-X}}

[[Category:18th-century German classical composers]]

[[Category:18th-century German male musicians]]

[[Category:18th-century German keyboardists]]