Ships within 1-5 business days [Brand new unopened item]

The Well-Tempered Clavier Complete Collection BWV 846-893

The Well-Tempered Clavier Book 1
【CD1】
1-12. Prelude and Fugue No. 1 - No. 12 BWV 846-857
【CD2】
1-12. Prelude and Fugue No. 13 - No. 24 BWV 858-869

The Well-Tempered Clavier Book 2
【CD3】
1-12. Prelude and Fugue No. 1 - No. 12 BWV 870-881
【CD4】
1-12. Prelude and Fugue No. 13 - No. 24 BWV 882-893

Francesco Cera (Harpsichord)

Instruments Used
Danièle Maria Giannini, made in 2019.
Based on an instrument made by Henri Emsch in 1736.

Recording: October 2021, April 2022
Palazzo Sanseverino, Laureana Cilento (Italy)

Total Recording Time: 270 minutes

【Francesco Cera finally releases all 2 volumes of the "Well-Tempered Clavier" at once!】
Italian harpsichord/organist and conductor Francesco Cera has finally recorded Bach’s "Well-Tempered Clavier." This is a work he has meticulously tuned himself, drawing on his extensive experience.
Born in Bologna in 1967, Francesco Cera studied with Ferdinand TaliaVini and Gustav Leonhardt, and after working as a harpsichord/organist at Il Giardino Armonico, he has performed and recorded vocal and instrumental music from the Renaissance to the Baroque as a soloist and conductor of his own ensemble. He has now recorded Bach’s "Well-Tempered Clavier."
Cera has long understood the fundamental character of the "Well-Tempered" as rooted in "discipline" and "innerness." "Discipline" refers to the strictness exemplified by counterpoint, and the training of the mind and fingers necessary to realize it as sound. "Innerness" refers to the character of the musical ideas and structures that sometimes lead to reflection or meditation. He prepared to express these qualities in performance, with particular emphasis on tuning.
Regarding the original title of the collection, "Das wohltemperierte Klavier" (The Well-Tempered Clavier), Cera understands it not as a specific tuning principle but as subject to the performer’s "good taste" suited to each piece. Sometimes a tuning that resonates pleasantly is correct; other times, a tuning that sounds harsh is correct. He interprets each piece based on the understanding that Bach’s music was a confluence of German, Italian, and French musical styles, and he applied his own tuning accordingly. The details are not disclosed, but he states, "I leave the judgment to the listener. I may not fully agree, but I hope you find interest in the creative ingenuity I have put into exploring all the tunings." For the second volume, he referenced the Alt-Nicol version of the score and also considered variants that were later omitted in manuscripts from subsequent eras.
The instrument used for the recording is a replica by Henri Emsch, made by Danièle Maria Giannini, whom Cera trusts. Modeled after an instrument from 1736 in the Boston Museum of Fine Arts, it is a "reimagined replica" since the original has been restored over time. It references many instruments by Emsch from the same period, as well as the style of instruments and decorations from the Louis XV era, incorporating his own custom parts. Cera considered using a clavichord or fortepiano but decided that the diverse character and resonance Bach intended for this collection are best expressed on a single instrument, which is why he chose this instrument for the recording.

Media reviews and other information

Italian harpsichord/organist and conductor Francesco Cera finally records Bach’s "Well-Tempered Clavier." This is a meticulously tuned work reflecting his years of experience. Born in Bologna in 1967, Cera studied with Ferdinand TaliaVini and Gustav Leonhardt, and after working as a harpsichord/organist at Il Giardino Armonico, he has performed and recorded vocal and instrumental music from the Renaissance to the Baroque as a soloist and conductor of his own ensemble. He has now recorded Bach’s "Well-Tempered Clavier." (C)RS
CD
【Disclaimer】 Benefits may end without notice. If there is no inquiry, the product will be delivered in the new package. Thank you for your understanding.