An excellent, captivating, and expressive performance. Any information on the harpsichord and temperament? (Kudos for the choice of the instrument, rather than a clavichord or Fortepiano, your interpretation gives the impression that Bach composed to showcase the potential of such.)
Thanks! It's J. Klinkhamer's copy after Claude Labreche (1998 I think?). Not sure which temperament we used for the concert, but most probably something mild, perhaps Young or Sorge's inequalis (the latter one is my usual choice).
@@amotisavi Thank you for the information on Temperament, I will have to check out Sorge… This brings to mind C P E Bach’s 14th Paragraph from his Introduction to Pt 1 of his Essay on the True Art of Keyboard Playing 1753, in which he wrote make most (meisten) 5ths slightly impure, with the logical interpretation that a minority of 5ths were pure (as described in Werkmeister’s book J S Bach catalogued in his possession). Kudos for using an unequal, Wohl, or circulating (whatever the current buzzword is now in fashion). Nothing against Young other than it’s 50 years too late for J S Bach and also after C P E Bach deaths. Vallotti temperament’s complete instruction publication wasn’t until 1958 and what passes as Vallotti is a variant by another published in the 1980’s. The above you are already aware, I write this when your video receives the number of views it so richly deserves, others not so well versed on the subject will take pause when they read C P E and J S Bach used Equal Temperament.
@@amotisavi Claude Labreche, the signed and the one attributed to him (Hubbard) and now accepted, interesting instruments. The originals were unique in 17th Century French Harpsichords, 4' only on the upper manual (dogleg jack), no coupler, lower manual 8 ' and 4' (dogleg jack for the upper 4') and box slides. Unique examples of a tradition from a builder not from Lyon or Paris. After typing my response, I remembered that Sorge's temperament borrowed heavily from Neihardt's writing on the subject, but their's an interesting connection to J S Bach, both belonged to Corresponding Society of Musical Sciences in 1747. And apparently friends as three Fugues once thought to be by J S Bach (on the subject of B A C H in the BWV Anhang are now attibuted as being by Georg Andreas Sorge, another capable musician from Thuringia.
An excellent, captivating, and expressive performance. Any information on the harpsichord and temperament? (Kudos for the choice of the instrument, rather than a clavichord or Fortepiano, your interpretation gives the impression that Bach composed to showcase the potential of such.)
Thanks! It's J. Klinkhamer's copy after Claude Labreche (1998 I think?). Not sure which temperament we used for the concert, but most probably something mild, perhaps Young or Sorge's inequalis (the latter one is my usual choice).
@@amotisavi Thank you for the information on Temperament, I will have to check out Sorge… This brings to mind C P E Bach’s 14th Paragraph from his Introduction to Pt 1 of his Essay on the True Art of Keyboard Playing 1753, in which he wrote make most (meisten) 5ths slightly impure, with the logical interpretation that a minority of 5ths were pure (as described in Werkmeister’s book J S Bach catalogued in his possession). Kudos for using an unequal, Wohl, or circulating (whatever the current buzzword is now in fashion). Nothing against Young other than it’s 50 years too late for J S Bach and also after C P E Bach deaths. Vallotti temperament’s complete instruction publication wasn’t until 1958 and what passes as Vallotti is a variant by another published in the 1980’s. The above you are already aware, I write this when your video receives the number of views it so richly deserves, others not so well versed on the subject will take pause when they read C P E and J S Bach used Equal Temperament.
@@amotisavi Claude Labreche, the signed and the one attributed to him (Hubbard) and now accepted, interesting instruments. The originals were unique in 17th Century French Harpsichords, 4' only on the upper manual (dogleg jack), no coupler, lower manual 8 ' and 4' (dogleg jack for the upper 4') and box slides. Unique examples of a tradition from a builder not from Lyon or Paris. After typing my response, I remembered that Sorge's temperament borrowed heavily from Neihardt's writing on the subject, but their's an interesting connection to J S Bach, both belonged to Corresponding Society of Musical Sciences in 1747. And apparently friends as three Fugues once thought to be by J S Bach (on the subject of B A C H in the BWV Anhang are now attibuted as being by Georg Andreas Sorge, another capable musician from Thuringia.