Composer: Johann Sebastian Bach
Performer: Cristiano Holtz
Format: FLAC (tracks)
Label: Ramée
Catalogue: RAM1912
Release: 2021
Size: 2.67 GB
Recovery: +3%
Scan: yes
The Well-Tempered Clavier I
CD 01
01. Prelude I in C Major, BWV 846
02. Fugue I in C Major, BWV 846
03. Prelude II in C Minor, BWV 847
04. Fugue II in C Minor, BWV 847
05. Prelude III in C-sharp Major, BWV 848
06. Fugue III in C-sharp Major, BWV 848
07. Prelude IV in C-sharp Minor, BWV 849
08. Fugue IV in C-sharp Minor, BWV 849
09. Prelude V in D Major, BWV 850
10. Fugue V in D Major, BWV 850
11. Prelude VI in D Minor, BWV 851
12. Fugue VI in D Minor, BWV 851
13. Prelude VII in E-flat Major, BWV 852
14. Fugue VII in E-flat Major, BWV 852
15. Prelude VIII in E-flat Minor, BWV 853
16. Fugue VIII in D-sharp Minor, BWV 853
17. Prelude IX in E Major, BWV 854
18. Fugue IX in E Major, BWV 854
19. Prelude X in E Minor, BWV 855
20. Fugue X in E Minor, BWV 855
21. Prelude XI in F Major, BWV 856
22. Fugue XI in F Major, BWV 856
23. Prelude XII in F Minor, BWV 857
24. Fugue XII in F Minor, BWV 857
CD 02
01. Prelude XIII in F-sharp Major, BWV 858
02. Fugue XIII in F-sharp Major, BWV 858
03. Prelude XIV in F-sharp Minor, BWV 859
04. Fugue XIV in F-sharp Minor, BWV 859
05. Prelude XV in G Major, BWV 860
06. Fugue XV in G Major, BWV 860
07. Prelude XVI in G Minor, BWV 861
08. Fugue XVI in G Minor, BWV 861
09. Prelude XVII in A-flat Major, BWV 862
10. Fugue XVII in A-flat Major, BWV 862
11. Prelude XVIII in G-sharp Minor, BWV 863
12. Fugue XVIII in G-sharp Minor, BWV 863
13. Prelude XIX in A Major, BWV 864
14. Fugue XIX in A Major, BWV 864
15. Prelude XX in A Minor, BWV 865
16. Fugue XX in A Minor, BWV 865
17. Prelude XXI in B-flat Major, BWV 866
18. Fugue XXI in B-flat Major, BWV 866
19. Prelude XXII in B-flat Minor, BWV 867
20. Fugue XXII in B-flat Minor, BWV 867
21. Prelude XXIII in B Major, BWV 868
22. Fugue XXIII in B Major, BWV 868
23. Prelude XXIV in B Minor, BWV 869
24. Fugue XXIV in B Minor, BWV 869
Which “Clavier” did Bach have in mind? Apart from a “grand clavessin” by Michael Mietke, which he probably had at his disposal at the court in Cöthen, there is evidence that he knew instruments by Gottfried Silbermann. A harpsichord with a 16’ stop by Johann Heinrich Harrass (today in the Berlin Musikinstrumenten-Museum) is also assumed to have been in Bach’s possession. A large instrument similar to this supposed “Bach harpsichord” was built by Zacharias Hildebrandt, who was closely associated with the composer during his Leipzig years.
Since Bach travelled to Hamburg on various occasions, it can be assumed that he was familiar with the famous harpsichord building tradition of that city, represented by the workshops of Zell, Fleischer and Hass. Since he was known for using rich and unusual registrations on the organ, we can assume that he used equally flamboyant registrations on the harpsichord. Cristiano Holtz has therefore chosen a large instrument by Matthias Kramer after Christian Zell (Hamburg 1728).