A renaissance man and a magnetic creative force, Dmitry Sitkovetsky is recognised throughout the world as having made a considerable impact on every aspect of musical life. A prolific recording artist, with a career spanning more than four decades, he is celebrated globally as a violinist, conductor, creator, transcriber, and facilitator — and holds an undisputed and venerable position in musical society as a giant personality and educator. Given his unmatched ability to turn any project into a highly anticipated artistic event, Sitkovetsky has also been invited to create, develop and lead a number of festivals, including the Korsholm Music Festival, Finland , and , the Seattle International Music Festival , the Silk Route of Music, Azerbaijan , and the Festival del Sole, Tuscany Sitkovetsky is also in high demand as a Jury member, musical expert and educator. His iconic orchestral and string trio versions of J.
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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The Goldberg Variations stands as one of the greatest keyboard works ever written.
But who was Goldberg, and how does he fit into the story of these famous variations? In his biography Forkel relates the story as follows:. Peter Williams has speculated that the player Bach most probably had in mind for the variations was his son Wilhelm Friedemann, a brilliant performer who had worked as organist of the Sophienkirche in Dresden since Still, Goldberg is reputed to have been a brilliantly talented young musician, and a pupil of both Johann Sebastian and Wilhelm Friedemann Bach.
This is one of the more plausible suggestions in the charming but largely fictitious Little Chronicle of Anna Magdalena Bach by Esther Meynell, first published in As a master of transcribing his own music for different instrumental combinations, the arrangement of the Goldberg Variations by Dmitry Sitkovetsky for string trio is an idea that would surely have appealed to the composer.
No other work by Bach himself, or by Domenico Scarlatti, not even any earlier work of Beethoven could compare with it for instrumental brilliance.
With three instruments of broadly similar timbre, the contrapuntal and imitative lines come across with great transparency, especially in the canonic variations Nos 6, 9, 12, 15, 18, 21, 24 and 27, or in the fughetta variation 10 and the closely argued counterpoint of variation 22, or, finally, in the triumphant imitation based on folk tunes of the Quodlibet that forms variation Some ingenious reworking aims to produce an equivalent of the virtuosity required on the harpsichord: the playful energy of variation 3 puts continuous motion in semiquavers on the viola that are topped and tailed by violin and cello.
In variation 5, Sitkovetsky 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 The elaborate hand-crossing and figuration of variation 14 are imaginatively re-conceived as a dialogue between the three string players.
The use of pizzicato for the running semiquavers in variation 19 may cause some surprise, but it provides an attractive change of texture. The highly chromatic writing of variation 25 works well on string instruments, with the greater sustaining power of strings allowing dissonances to be relished to the full.
The frenetic momentum of variation 26 is, again, cleverly redistributed among the trio, while in variation 28 there is more effective use of pizzicato, perhaps to mirror the sound of the harpsichord as well as to lighten the texture. The grand chords of variation 29 are also persuasively transcribed. Voici ce que relate Forkel dans sa biographie:. In seiner Biografie schildert Forkel, dass der Graf. Sitkowetskis Bearbeitung entstand zur Feier von Bachs Sitkowetskis Wahl des Streichtrios liefert einige faszinierende Resultate.
Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. Don't show me this message again. There was no irony in the notion—expressed on this title page—of a work that aspired to speak to the soul of those playing and hearing the work: Bach, as a devout Lutheran, was deeply conscious of the spiritual dimension of music, and the wish of composers to enrich the soul as well as to divert and entertain.
But the work was also an extraordinary feat of large-scale composition: if the Preludes and Fugues of the Well-Tempered Clavier are counted as self-contained pairs of works, then the Goldberg Variations constitute the most extended single piece of keyboard music published in the eighteenth century, and attracted some international attention early on.
Bach is often thought of as a composer whose music was rediscovered only in the nineteenth century thanks in large part to Mendelssohn and Schumann , but his keyboard music was something of an exception to this, even outside Germany, and the Goldberg Variations were particularly valued, though seldom played at the time. Hawkins concludes his discussion of Bach with three full pages of music examples, comprising the Aria, Variation 9 and Variation 10 from the Goldberg Variations, making this one of the first pieces of Bach to appear in print outside Germany.
In his biography Forkel relates the story as follows: [The Count] often stopped in Leipzig and brought there with him … Goldberg, in order to have him given musical instruction by Bach. The Count was often ill and had sleepless nights.
On these occasions, Goldberg had to spend the night in an adjoining room so that he could play something to him during this sleeplessness. The Count remarked to Bach that he would like to have a few pieces for his musician Goldberg, pieces so gentle and somewhat merry in character that the Count could be cheered up by them during his sleepless nights.
Bach thought he could best fulfil this wish with some variations … The Count henceforth referred to them only as his variations. 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. Bach was perhaps never rewarded so well for one of his compositions. Man stellt sich Bach oft als Komponisten vor, dessen Musik erst im In seiner Biografie schildert Forkel, dass der Graf sich oft in Leipzig aufhielt, und […] Goldberg mit dahin brachte, um ihn von Bach in der Musik unterrichten zu lassen.
The Art of Transcription - JS Bach arrangements for String Trio by Dmitry Sitkovetsky
Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.
His father died in , when Sitkovetsky was just three years old and the family moved to Moscow, where Dmitry entered the prestigious Moscow Conservatory. In , aged twenty-two, he decided to leave the Soviet Union. In order to do this, he registered himself as mentally ill. Apparently his plan worked and Dmitry arrived in New York City on September 11, , where he immediately began studying at the Juilliard School.