*Ton Koopman from an interview by Olivier Van Wersch-Cot

Where are the Goldberg Variations situated in the works of J.S.Bach ?
　This is the fourth series of keyboard-exercises published by Bach. The actual date of publicication is uncertain, by the way, after 1742 in any case. The title by which we know these pieces today is not the one used up until the end of the eighteenth century, when they were simply called aria with ornamentations.
　Talking of this. I would like to re-established a fact which will help us to better understand the impotrtance of this work in Bach's life and career: biographers tell us that these pieces, dedicated to Count Herman Carl von Keiselingk, the Russian Ambassador in Dresden, had been written to help him overcome his insomnia. They were supposedly played to him at night by a pupil of Johann Sebastian Bach, the young harpsichordist and composer Joahnn Gottlieb Goldberg, which explains the title. In my opinion the truth is quite different. Bach wished to leave Leipzig, and mentioned to Keiselingk his desire to be appointed Kapellmeister at the court of the Prince-Elector of Dresden.The Count was a music-lover of some experience, and brought his influence to bear in obtaining the post for Bach in November 1736. Probably as a means of thanking him, Bach made a present of the manuscript score to the Count at a dinner in 1741. Goldberg was then much too young to take on such a difficult work: he was barely fourteen. The anecdote about insomnia is an enjoyable one, no doubt, but I don't believe it corresponds to reality.

What is specific about the composition of the Goldberg Variations ?
　It's Bach's most complicated work for the.keyboard. He thought it important himself, since he took the trouble to publish it, unlike the "Well-TemperedClavier", for example, which he considered to be a minor piece.
　The influence of Domenico Scarlatti, who had published his thirty Essercizi per gravicembalo in 1739, is very visible here. Bach was aquainted with this work; he had immediately understood the newness of it, both stylistically and technically. The fact that there are also 30 Goldberg Variations would apper to be asort of tribute paid to the author of the Essercizi. Bach re-uses the methods of technical virtuosity introduced by Scarlatti, particularly ther crossing of the hands. With enormous virtuosity, he combines the style of the fugue and the canon with the Italian influence, and of course he puts the seal of his own genius to it.

What performer's problems do the Goldberg Variations pose for the harpsochordist ?
　These thirty variations are all written in the same key; G Major or Minor. So the most important thing, if you disregard the technical problems, is to manage to express the character proper to each piece. One often hears it said that the harpsichord-player's main quality is virtuosity. To my mind, this is completely false. On the contrary, the harpsichord is a dynamic instrument, one in which the characteristics of the player's touch, as on the piano, all have their importance. Combined with articulation and ornamentation, these qualities allow the instrumentalist to express his personality, and rightly bring out the character belonging to each piece.
　Baroque art is an art of the emotions, we shouldn't forget it, and my aim with these variations is not to put the listener to sleep, of course, but to lead him from one surprise to another.