[Sax.4]Goldberg-Variationen/J.S.Bach | Arr. Masahiro Tamura

Composed by Johann Sebastian Bach (1685–1750)

The Goldberg Variations is one of the most beloved masterpieces in the world. Its formal title is "Aria with Diverse Variations for Harpsichord with Two Manuals." Beyond the original harpsichord version, it has been arranged for string ensemble (I am particularly fond of and inspired by Sitkovetsky's arrangement), orchestra, and various chamber groups. It has even been interpreted by jazz musicians. The sheer variety of these renditions is a testament to how profoundly this work continues to fascinate and attract people from all walks of life.

The greatest benefit of engaging with such a masterpiece is the increased opportunity to encounter truly exceptional performances. While simply listening is a joy in itself, stepping into the role of a "participant"—a performer—allows you to see the musical landscape from a completely different perspective, bringing even greater fulfillment. Furthermore, beyond performing in concerts, the act of simply producing and blending sounds for one's own musical satisfaction is, in itself, one of the purest joys of music.

Regarding the actual performance, I have followed Baroque conventions by omitting most articulations (leaving only those found in the original) and providing no dynamics whatsoever. For many saxophonists, this may be the first point of confusion. In the music of this era, much was left to the "performer's discretion." One of the most captivating aspects of Baroque scores is the vast potential for interpretation. Each performer brings their own unique perspective. While this is true for music of any era, it is perhaps most evident in the classical repertoire within the works of this period. Sometimes, when we focus too much on printed symbols, we risk losing sight of the energy and character inherent in the notes themselves—performing an accent, a forte, or a slur simply because it is there. This results in a "one-way" communication from the performer. Ideally, we should perform with a sense of conviction, understanding why a certain nuance is chosen. Even within a free interpretation, one should have a clear concept: "Since I am using this nuance, it should convey this meaning." If you do not find the answer immediately, please listen patiently to the score and your own sound until you can hear the message the music is trying to send. Only then does it become a true "ensemble between the composer and the performer."

However, "freedom" does not mean a total lack of rules; there are long-standing traditions and "manners" that have been passed down through generations. To understand these, I believe the best approach is to listen extensively to the performances of masters for inspiration. If you struggle to find your own answer, there is no harm in starting with imitation. No "original" begins from zero; everyone starts by imitating others, much like how we learn a language. As you discover the diversity of possible interpretations, you will surely find yourself "falling down the rabbit hole" of Bach and the Baroque world. Comparing historically informed approaches with modern ones is also fascinating. 

Bach is a composer whose music is exceptionally welcoming of diverse approaches, which I find to be one of his greatest charms.

I have also used period-appropriate notation for the ornamentation. I hope you find this interesting, much like encountering ancient literature, and appreciate how things were written in those times. Using these symbols makes it easier to distinguish between the "decoration" and the "melody," which may lead you to discover nuances you had never noticed before. I have included a supplemental guide with specific performance suggestions for these ornaments, so please refer to it as needed.

Furthermore, this arrangement occasionally incorporates voices, phrases, and ornamental passages not found in the original. My goal was not a literal transcription, but rather to ensure the work functions interestingly and effectively as a saxophone quartet. You could say this is the result of my own internal dialogue with Bach through the score. When I perform this with the Clover Saxophone Quartet, we generally play it as written without repeats. However, I encourage you to experiment—perhaps by adding phrases not in the original only during repeats, or conversely, or even creating entirely new ornaments of your own. Such creative exploration is part of the fun.

It is my sincere hope that everyone who picks up this score will find joy in sharing these moments of musical inspiration.