Extemporization of J. S. Bach's 'Goldberg Variations' BWV 988: The varying of reprise with improvised embellishments

In the entire musical practice of the Baroque, the art of improvising above a structural bass line achieves over-riding importance, so much so that the period from 1600 to 1750 is sometimes called the "thorough-bass period". Throughout this period any conductor, organist or keyboard player had to be able to play fluently from a figured bass in ensemble music. Part of this technique involved the varying of a reprise with improvised embellishment. This dissertation presents an extemporization of J. S. Bach's Goldberg Variations through the varying of each of its many reprises with improvised embellishments, based on what can be deduced about such practices in Bach's time. This attempt of extemporization in the varied reprise aims to show, in examples from the music making within the Baroque style, the creative contribution of the performers to the process of shaping music.;The first chapter addresses concerns of minute details in their realization of the extemporization. Delimitation and limitation of extemporization, procedure and interpretation of extemporization are discussed in great details. The consistent techniques of extemporization are examined, with special emphasis on unifying devices in each variation of the whole Goldberg Variations. The second chapter offers a brief but condensed overview of each variation and for its extemporizational procedure. Written-out trial extemporizations of the first half of each variation illustrate the procedures and practices followed. A significant portion of both chapters focuses upon the primary sources for ornamentation and improvisational practice.