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Robert Schumann, who revered Johann Sebastian Bach, recommended that young pianists should make the two books of ‘The Well-Tempered Clavier’ their ‘daily bread’. The collection is indeed familiar to many from an early age but most performers (pianists, harpsichordists and even organists) only give it in concert and record it after ‘moulding’ that bread every day in the secrecy of their practice rooms. Musicians tackle ‘The Well-Tempered Clavier’ in the same way as actors play Shakespeare’s ‘Lear’ or singers perform Schubert’s ‘Winterreise’, once they have reached the appropriate age.

Robert Schumann, who revered Johann Sebastian Bach, recommended that young pianists should make the two books of ‘The Well-Tempered Clavier’ their ‘daily bread’. The collection is indeed familiar to many from an early age but most performers (pianists, harpsichordists and even organists) only give it in concert and record it after ‘moulding’ that bread every day in the secrecy of their practice rooms. Musicians tackle ‘The Well-Tempered Clavier’ in the same way as actors play Shakespeare’s ‘Lear’ or singers perform Schubert’s ‘Winterreise’, once they have reached the appropriate age.

GENUIN fans have already admired the horn playing skills of Christoph Eß on many occasions, including in the CDs of german hornsound, the celebrated ensemble founded by Christoph Eß. Now the solo hornist of the Bamberg Symphony Orchestra presents four effervescent, lively and soulful concertos by Mozart with the Folkwang Chamber Orchestra, perfectly laid out and light as a feather. With his colleagues from german hornsound, he plays—as an encore, so to speak—a quartet of Madsen with tongue-in-cheek and breathtaking virtuosity. Horn couldn't be better!