Johann Gottlieb Goldberg (German:[ˈɡɔltbɛɐ̯k]; baptized 14 March 1727 – 13 April 1756) was aGerman virtuosoharpsichordist,organist, and composer of the lateBaroque and earlyClassical period. He is best known for lending his name, as the probable original performer, to the renownedGoldberg Variations ofJ. S. Bach.
Goldberg was born inDanzig (Gdańsk),Royal Prussia (a part of theCrown of Poland), and wasbaptized there on 14 March 1727 atSt. Mary's Church, Gdańsk.[1][2] Little is known for certain about his childhood, other than that he was an exceptionally talented performer,[citation needed] attracting the attention ofHermann Karl von Keyserling, theRussian ambassador toSaxony, around 1737. Goldberg was reported to have studied with bothJ. S. Bach andWilhelm Friedemann Bach, 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 Keyserling recognized his talent in Danzig, and Goldberg may have studied with W. F. Bach at any time before 1745, since W. F. Bach was inDresden throughout Keyserling'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 biographerJohann Nikolaus Forkel, concerning the composition of a set ofvariations by Bach to help theinsomniac Count Keyserling pass sleepless nights. Keyserling'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:
...[the count] ... often stopped inLeipzig 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 themhis 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 100louis-d'or. Nevertheless, even had the gift been a thousand times larger, their artistic value would not yet have been paid for.[3]
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 Keyserling at the time, and was also most likely inLeipzig, 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 verified due to the presence of performance parts for one of his cantatas,Durch die herzliche Barmherzigkeit.[2]
Goldberg remained with Count Keyserling until around 1745, and disappears from the historical record until around 1750, when he was included in a concert described by W. F. Bach in a letter of 1767. In 1751 Goldberg was hired by CountHeinrich von Brühl, who had previously employedGottlob Harrer. He remained in the employ of Brühl for the rest of his short life.[citation needed] He died of tuberculosis at the age of 29 and was buried in Dresden on 15 April 1756.[2]
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 thegalant style. Some of his last works, especially the concertos, use a sophisticated harmonic language akin to that of Bach's sonCarl Philipp Emanuel, and were probably written for the musicians ofHeinrich von Brühl.Syncopation,chromaticism, and melodies with a wide range are characteristic of these later works.
He wrotecantatas while a student of Bach, for instance, around 1745–46,Durch die herzliche Barmherzigkeit, achurch cantata for the feast of St. John the Baptist.[4] His output also includes sixtrio sonatas (among whichBWV 1037 [scores] previously attributed to Bach); keyboard music, including 24polonaises, one in each of the major and minor keys;concertos for harpsichord; and a set ofchorale preludes which has been lost.[5]
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