C​.​Ph​.​E​.​Bach: Rondo in E Minor, Wq 66

by Wim Winters

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C.Ph.E.Bach :: Rondo in E Minor, Wq 66 "Abschied von meinem Silbermannischen Claviere" :: Wim Winters, clavichord
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Carl Philip Emanuel Bach wrote this piece in late 1781, as a farewell to his beloved Silbermann Clavichord, that he gave or sold to baron Grothuss. Much to the surprise of the young man, he came to Germany only to get a glimpse of the by then famous instrument of the great master, and at the end, he not only heard Emanual play on it, but got the chance to take it with him. Certainly, Bach was looking for a safe place this instrument could live on for some generations, and the connections he had with that family, must have made him decide from one moment to another, to choose for the short pain, and let his instrument go.
Yet Bach was to survive young nobleman by two years, and what happened with the famous instrument, is a bit of a mystery it seems. Today, nobody really can tell if that Silbermann instrument -it would be the only surviving instrument that really can be attributed to the great builder- still exists or not. Changes are likely however, that this clavichord, on which Bach played for about 35 years, silently waited in a corner of some castle, cellar or attic for being destroyed by bombs or a dramatic fire. But let us hope this clavichord rises one day as a fenix, high above the earth, with rays of divine sunshine behind, playing with magic power all sounds that have been produced since its birth in 1746, filling the world with the joy that a good clavichord can offer and raising the standards and expectations of clavichords today!

But more important than this little fantasy, it is striking that the description of 1774 we have from a certain Mr. Reichhardt, is emphasising a certain aspect of the Bach instrument that today is often, I wouldn't say criticized, but generally not seen as essential to a clavichord, namely, the power that Emanuel's instrument had: (On his) very beautiful Silbermann clavichord (Clavier), which could take fortissimos that would destroy another instrument, and pianissimos which, on any other, would never sound.' *
This criteria, the power of a clavichord, is one of the main aspects for more than this author, to separate a 'good' clavichord from a mediocre, which apparently were -not surprising- outnumbering the excellent ones. We read this in sources from Adlung (1722) to G.Türk (1789).
I do stress this here, since it is my believe that making an excellent clavichord is one of the most demanding tasks a builder can undertake, and that, as it was in the 18th c., not all instruments that potentially are hold as a clavichord standard today, and consequentally bring its potential and universal meaning down, do have a negative impact on the long journey of reconnaissance this magical instrument still has to go. Let's strive together for the best, and dreaming of the powerful yet sweet sounds of the Silbermannischen clavichord. And dream well.




*Quoted from Annette Richards: "The free fantasia and the musical picturesque", chapter on 'Solitude and the clavichord cult':
www.cambridge.org/us/academic/subjects/music/eighteenth-century-music/free-fantasia-and-musical-picturesque



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released May 19, 2016

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Authentic Sound Brussels, Belgium

Wim Winters (1972) began his musical studies in 1984. At age 13, Wim Winters was awarded First Prize in an international competition in The Netherlands and subsequently decided to pursue a career in music.

He studied at the Sweelinck conservatory in Amsterdam, with Jacques van Oortmerssen (organ) and Willem Brons (piano).

Wim is also involved in restoration projects of historic organs.
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