Live recording of concert at the "Deusterkapel," Peer, 26 June 2014.
Wim Winters, Clavichord
* 0:27 J.S.Bach, chromatic fantasy, BWV 903
* 7:57 W.A.Mozart, Variations in G Major (Gluck) KV 455
* 21:25 J. Haydn, Fantasy in C Major
* 28:26 L. van Beethoven, sonata opus 13 in C Minor (pathetique)
City of Peer (Belgium)
With the energy and support of Herman Baeten.
Bonus: 3-minute Summary on Bach, Forkel and the Clavichord
This 3MV is about the first Bach biographer, Johann Nicolaus Forkel. We focus on the information we find regarding the historical use and the position of the clavichord.
Short about Forkel: he was a musician, organist, musicologist, who worked for 50 years at the university of Göttingen, wrote several important theoretical works, and is today considered as the founder of the modern musicology. So, what he writes, we better take seriously.
His biography of Bach is based upon letters and personal encounters with two of Bach's children, Wilhelm Friedemann, and Carl Phillip Emanuel Bach. Many of the anecdotes we now today about Bach's life, come from this important work.
First thing we will check out, also for future sources that we read: for Forkel, the German term Clavier is synonym with clavichord.
Forkel is very clear in Bach's relationship with the clavichord:
1. It was the keyboard instrument he loved to play the most.
2. Bach considered the clavichord the be the best instrument for study, teaching, and expressing the deepest musical ideas.
3. Study was not in the 20th century meaning, but in the 18th century one, as also the four parts of Bachs clavier-übung were of the highest standards of musical composition, to enable you to study and become a better musician/player.
4. Forkel clearly defines what is meant as keyboard or clavichord music: partita's, all suites, preludes and fugues (so also the well-tempered keyboard), fantasies, etc. Concerti and accompaniment is for the harpsichord.
5. He makes an explicit link between the well-tempered keyboard and the unfretted clavichord. This is worth checking out yourself!
We see in this work a prominent place for the clavichord in the solo music of Bach, something that is not reflected on today's music scene. According to this source, you could say that we today overestimate the role of the harpsichord in the reproduction of the solo-works of Bach.
I will continue to read other 18th century sources to see how they describe the clavichord in the context of that time. Next will be Adlung.