New Arts International

- For nearly twenty years Luca has been the assistant and continuo player of Jordi Savall and his ensembles Hespérion XXI, Le Concert des Nations and La Capella Rial de Catalunya, giving concerts, from the duo to the large ensemble, all over the world.

- Concurrently, from 1993 Luca Guglielmi has had a busy international career as a soloist of historical keyboards (harpsichord, organ, clavichord, fortepiano), choir master and leader of various ensembles "with original instruments"

- This recording has been made on a copy (Kerstin Schwarz) of a rare very early “Fortepiano” (1749) made by the famous harpsichord and organ maker, Gottfried Silbermann. Bach himself had most probably a Silbermann fortepiano at his hands, which – as he wrote – he preferred very much to a harpsichord of his times. A beautiful warm sound, unusual for those times.

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.

The Well-Tempered Clavier II