Luca Guglielmi

The Well-Tempered Clavier II

Price: € 22.95
Format: CD
Label: CAvi
UPC: 4260085532339
Catnr: AVI 8553233
Release date: 04 March 2022
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Label
CAvi
UPC
4260085532339
Catalogue number
AVI 8553233
Release date
04 March 2022
Album
Artist(s)
Composer(s)
EN
DE

About the album

BACH’s WTC II on an extraordinary FORTEPIANO

by Gottfried Silbermann (copy by Kerstin Schwarz)

Original time – Original sound

Das Wohltemperirte Clavier, a collection of preludes and fugues in all major and minor keys completed by Johann Sebastian Bach in 1722, was clearly modelled along the lines of Ariadne Musica by Johann Caspar Ferdinand Fischer (1662-1746, Kapellmeister in Baden from 1715 to 1746) – an organ music anthology published for the first time in 1702 and probably known by Bach in its second 1715 edition. Bach took Fischer’s original layout of 20 keys and expanded it to a total of 24, thereby creating the first self-contained collection of music written for the entire corpus of existing keys.

Bach, who, on the handwritten title page of the beautiful copy now preserved in the Berlin Staatsbibliothek (Mus. Ms. P 415), signed as Hochf. Anhalt-Cöthenischen Capel-Meistern und Directore derer Cammer Musiquen, clearly indicated his purpose in composing this incomparable collection: “for the profit of musical youth desirous of learning, and especially for the pastime of those already skilled in this study.” ………..

Regarding the instrument we have chosen for this recording of Vol. II, we have selected a copy by Kerstin Schwarz of the fortepiano built by Gottfried Silbermann in 1749, now preserved in the Germanisches Nationalmuseum in Nuremberg. In recent years a clearer picture has emerged of Bach’s instrumentarium, and one can infer that in the last ten years of his life he had a Silbermann fortepiano at his disposal. By then he regarded it as a valid alternative to the harpsichord, the clavichord, and the Lautenwerck, which, taken together, embodied the generic term Clavier. Silbermann, for his part, relied on Bach’s assistance as Cantor to help him sell his valuable instruments (a fortepiano cost as much as a Capellmeister’s annual salary!), and he was entirely indebted to Bartolomeo Cristofori for the design of his fortepiano mechanism, which he later applied to the robust makeup of harpsichords of late German build.

This recording of the Zweyter Theil of Das Wohltemperirte Clavier is dedicated to her memory as well to her husband, the late Paul Badura-Skoda (*1927 †2019), incomparable pianist and soloist on historical fortepianos.

Version A: after the original manuscript, London (1742)
Version B: after the tradition by Johann Christoph Altnichols (1744)
BACHs WTC II auf einem außergewöhnlichen FORTEPIANO

von Gottfried Silbermann (Kopie von Kerstin Schwarz)

Originalzeit - Originalklang

Das Wohltemperierte Clavier, eine von Johann Sebastian Bach 1722 vollendete Sammlung von Präludien und Fugen in allen Dur- und Moll-Tonarten, orientierte sich deutlich an der Ariadne Musica von Johann Caspar Ferdinand Fischer (1662-1746, Kapellmeister in Baden von 1715 bis 1746) - einer 1702 erstmals erschienenen Orgelmusik-Anthologie, die Bach vermutlich in ihrer zweiten Auflage von 1715 kannte. Bach übernahm Fischers ursprüngliche Anordnung von 20 Tonarten und erweiterte sie auf insgesamt 24. Damit schuf er die erste in sich geschlossene Sammlung von Musik, die für den gesamten Korpus der vorhandenen Tonarten geschrieben wurde.

Bach, der auf dem handschriftlichen Titelblatt des schönen Exemplars, das sich heute in der Berliner Staatsbibliothek (Mus. Ms. P 415) befindet, als Hochf. Anhalt-Cöthenischen Capel-Meistern und Directore derer Cammer Musiquen unterzeichnete, gab klar an, was er mit dieser unvergleichlichen Sammlung bezweckte: "zum Nutzen der lernbegierigen musikalischen Jugend, und besonders zum Zeitvertreib derer, die schon in diesem Studium geübt sind." ...........

Was das Instrument betrifft, das wir für diese Aufnahme von Band II ausgewählt haben, so haben wir eine Kopie des von Gottfried Silbermann 1749 gebauten Hammerflügels, der heute im Germanischen Nationalmuseum in Nürnberg aufbewahrt wird, von Kerstin Schwarz ausgewählt. In den letzten Jahren hat sich ein klareres Bild von Bachs Instrumentarium ergeben, und man kann daraus schließen, dass er in den letzten zehn Jahren seines Lebens über einen Silbermann-Fortepiano verfügte. Zu diesem Zeitpunkt betrachtete er es als eine gültige Alternative zum Cembalo, zum Clavichord und zum Lautenwerck, die zusammengenommen den Gattungsbegriff Clavier verkörpern. Silbermann seinerseits verließ sich auf Bachs Hilfe als Kantor, um seine wertvollen Instrumente zu verkaufen (ein Hammerflügel kostete so viel wie das Jahresgehalt eines Capellmeisters!), und er war Bartolomeo Cristofori für die Konstruktion seiner Hammerflügelmechanik, die er später auf die robuste Bauweise der Cembali der späten deutschen Zeit übertrug, voll und ganz zu Dank verpflichtet.

Die vorliegende Einspielung des Zweyten Theils von Das Wohltemperirte Clavier ist ihrem Andenken sowie ihrem Mann, dem verstorbenen Paul Badura-Skoda (*1927 †2019), unvergleichlicher Pianist und Solist auf historischen Hammerflügeln, gewidmet.
Version A: nach dem Originalmanuskript, London (1742)
Fassung B: nach der Überlieferung von Johann Christoph Altnichols (1744)

Artist(s)

Luca Guglielmi (*Turin, Italy, 1977) is a conductor, composer, soloist of keyboard instruments
(harpsichord, organ, clavichord, fortepiano, modern piano) and musicologist, renowned
for his historically informed interpretations of music of all periods, his wide repertoire
from Gesualdo to Strawinsky, and his strong commitment into the study and application
of phenomenology of music.

Recently, he has been appointed assistant conductor to Jordi Savall (with whom he collaborated
since more than twenty years) in his long-term project of complete performance and recording
of Beethoven’s 9 Symphonies with Le Concert des Nations. Moreover, in November 2019 he
made his debut with the Royal Stockholm Philharmonic Orchestra in a concert featuring
Mozart‘s Ballet from Idomeneo and Symphony Nr. 41 Jupiter. Honourable Mention at the XII
International Organ Competition in Bruges, he studied harpsichord with Ton Koopman and
Patrizia Marisaldi, organ with Vittorio Bonotto, piano with Eros Cassardo, composition with
Alessandro Ruo Rui, renaissance counterpoint and historic composition with Sergio Pasteris.

He has collaborated with artists such as Cecilia Bartoli, Sara Mingardo, Barbara Bonney, Philippe
Jarrousky, Giuliano Carmignola, Paolo Pandolfo, Ottavio Dantone, Gabriele Cassone, Paul
O‘Dette, Katia and Marielle Labèque and ensembles like Il Giardino Armonico, Ricercar Consort,
Ensemble La Fenice, The Rare Fruits Council, Freiburger Barockorchester, RAI Turin Orchestra
(under Jeffrey Tate, Roberto Abbado, Rafael Frühbeck de Burgos).

Luca Guglielmi has a wide discography of more than 50 CDs, among them 18 solo titles devoted
to a repertoire from Frescobaldi to Mozart, for such labels as: Accent, cpo, Vivat, Hänssler Classics,
Stradivarius and Elegia. His recordings of Bach’s Goldberg Variations and Pasquini‘s Sonate da
gravecembalo have been awarded with the Diapason d’or; his last organ recording Bach in Montecassino,
for the English label Vivat, received an Editor’s Choice from the Gramophone magazine.

Luca Guglielmi is professor of harpsichord, fortepiano and chamber music at ESMUC (Escola
Superior de Musica de Catalunya) in Barcelona.

Composer(s)

Press

Play album
Disc #1
01.
No. 1 in C major BWV 870 [Version B]: Prelude I in C minor
02:37
02.
No. 1 in C major BWV 870 [Version B]: Fugue I à 3 in C Major
01:47
03.
No. 2 in C minor BWV 871 [Version A]: Prelude II in C minor
01:21
04.
No. 2 in C minor BWV 871 [Version A]: Fugue II à 4 in C Minor
02:14
05.
Fugue II à 4 in C Minor : Prelude III
02:49
06.
Fugue II à 4 in C Minor : Fugue III à 3
02:11
07.
No. 4 in C sharp minor BWV 873 [Version B]: Prelude IV
04:05
08.
No. 4 in C sharp minor BWV 873 [Version B]: Fugue IV à 3
02:45
09.
No. 5 in D major BWV 874 [Version A]: Prelude V
02:50
10.
No. 5 in D major BWV 874 [Version A]: Fugue V à 4
02:49
11.
No. 6 in D minor BWV 875 [Version A]: Prelude VI
01:39
12.
No. 6 in D minor BWV 875 [Version A]: Fugue VI à 3
02:01
13.
No. 7 in E flat major BWV 876: Prelude VII
03:17
14.
No. 7 in E flat major BWV 876: Fugue VII à 4
02:28
15.
No. 8 in D sharp minor BWV 877: Prelude VIII
02:08
16.
No. 8 in D sharp minor BWV 877: Fugue VIII à 4
03:58
17.
No. 9 in E major BWV 878 [Version A]: Prelude IX
02:55
18.
No. 9 in E major BWV 878 [Version A]: Fugue IX à 4
02:52
19.
No. 10 in E minor BWV 879 [Version B]: Prelude X
02:32
20.
No. 10 in E minor BWV 879 [Version B]: Fugue X à 3
03:14
21.
No. 11 in F major BWV 880 [Version A]: Prelude
04:05
22.
No. 11 in F major BWV 880 [Version A]: Fugue XI à 3
01:45
23.
No. 12 in F minor BWV 881 [Version B]: Prelude
02:38
24.
No. 12 in F minor BWV 881 [Version B]: Fugue XII à 3
02:14

Disc #2
01.
No. 13 in F sharp major BWV 882 [Version A]: Prelude XIII
03:26
02.
No. 13 in F sharp major BWV 882 [Version A]: Fugue XIII à 3
02:45
03.
No. 14 in F sharp minor BWV 883: Prelude XIV
02:55
04.
No. 14 in F sharp minor BWV 883: Fugue XIV à 3
03:07
05.
No. 15 in G major BWV 884 [Version A]: Prelude XV
01:14
06.
No. 15 in G major BWV 884 [Version A]: Fugue XV à 3
01:20
07.
No. 16 in G minor BWV 885 [Version A]: Prelude XVI Largo
02:01
08.
No. 16 in G minor BWV 885 [Version A]: Fugue XVI à 4
03:37
09.
No. 17 in A flat major BWV 886: Prelude XVII
04:02
10.
No. 17 in A flat major BWV 886: Fugue XVII à 4
02:55
11.
No. 18 in G sharp minor BWV 887: Prelude XVIII
02:51
12.
No. 18 in G sharp minor BWV 887: Fugue XVIII à 3
05:41
13.
No. 19 in A major BWV 888 [Version A]: Prelude XIX
02:03
14.
No. 19 in A major BWV 888 [Version A]: Fugue XIX à 3
01:24
15.
No. 20 in A minor BWV 889 [Version B]: Prelude XX
02:26
16.
No. 20 in A minor BWV 889 [Version B]: Fugue XX à 3
01:53
17.
No. 21 in B flat major BWV 890 [Version A]: Prelude XXI
04:51
18.
No. 21 in B flat major BWV 890 [Version A]: Fugue XXI à 3
02:18
19.
No. 22 in B flat minor BWV 891 [Version A]: Prelude XXII
02:45
20.
No. 22 in B flat minor BWV 891 [Version A]: Fugue XXII à 4
05:25
21.
No. 23 in B major BWV 892 [Version A]: Prelude XXIII
02:09
22.
No. 23 in B major BWV 892 [Version A]: Fugue XXIII à 4
03:37
23.
No. 24 in B minor BWV 893 [Version A]: Prelude XXIV
02:16
24.
No. 24 in B minor BWV 893 [Version A]: Fugue XXIV à 3
01:49
show all tracks

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