In his recording of Bach's 48 Colin Tilney, unlike his fellow competitors in the same repertory, plays both a clavichord (Book 1) and a harpsichord (Book 2). Why not? Bach's title for the first book of 24 preludes and fugues, The Well-tempered Clavier leaves both this issue and that of tuning wide open. The clavichord was a favourite instrument of Bach's, so was the harpsichord and the organ; indeed, I am sorry that Tilney does not include a chamber organ since some of the pieces, the E major Prelude and Fugue (Book 2), for instance, seem well-suited to it. Tilney's performance of the 48 differs again from almost if not all others in the sequence which he adopts in playing the preludes and fugues. But an apparently random approach is in fact nothing of the kind, but one that is directly linked with tuning. We know that Bach himself was a master in matters of tuning as he was in all other aspects of his craft. What we do not know is the exact nature of his tuning.
John Paul makes the first ever recording of the complete Well Tempered Clavier, performed on Lautenwerck. The Lautenwerck, or lute harpsichord, is similar to a harpsichord, but it has gut strings, and this has a far more mellow sound. Bach himself owned a lautenwerck, and was very fond of the instrument. Bach's keyboard works were not written strictly for the harpsichord. He would doubtless have seen performance on The Well Tempered Clavier on the lautenwerck as being completely appropriate.
Two mighty landmarks of Bach's keyboard canon. The Well-tempered Clavier and Goldberg Variation form the mainstay of this collection. A masterly interpreter of Baroque music, Bob van Asperen has been praised by Gramophone magazine for "secure technique, fastidious attention to detail, fine rhythmic sense and a feeling for gesture." Here he performs on a pair of treasured northern German harpsichords, both dating from the time of Bach himself.
Johann Sebastian Bach was undoubtedly the greatest musical thinker of his age. Dubbed ‘the Old Testament of music’ by the conductor and pianist Hans von Bülow, The Well-Tempered Clavier is acknowledged to be one of the most significant works ever written for the keyboard. Each of these 24 preludes and fugues encapsulates its own mood, and Bach’s delight in mixing technical strictness with freedom of expression has made this work an indispensable element of Western culture for centuries. Sir András Schiff is heralded as one of the finest Bach interpreters today, and this first complete performance at the prestigious BBC Proms was summed up as ‘stupendous’ by The Independent.
Distinguished Bach specialist Sir András Schiff returned to the BBC Proms in 2018 to present Book II of The Well-Tempered Clavier. Extending the variety already evident in Book I (available on 2.110653), Bachs effortless brilliance and new-found sonorities push harmony and counterpoint further than ever with a combination of ancient and modern styles, church austerity and galant lightness. Schiff has said that no-one combines the sacred and the secular as Bach does, and this is comprehensively demonstrated in Bachs fascinating and challenging sequence. This performance in the Royal Albert Hall was described as a musical meditation for our troubled times by the Independent.
Johann Sebastian Bach was a German composer and musician of the Baroque period. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and for vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival, he has been generally regarded as one of the greatest composers of all time.