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Insights. Keyboard playing and the physicality of the performer

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This image is of the piano which belonged to Bach's son, J C Bach. The power generated by the organ keyboard is enormous, seemingly without effort. In fact the organist has to learn to move their fingers with minimum effort, and keep the body entirely calm especially during the most vibrant and complex music. Piano requires muscular effort. This is because the organist is not involved in sound production after the lightest touch on the key releases air into the pipes. The pianist, on the other hand, is intimately involved in the sound created by a percussion instrument; the hammer hitting the strings. Keyboard playing and the physicality of the performer evolved radically. From Bach to Beethoven the keyboard was used to control the organ, harpsichord, clavichord, fortepiano, hammerklavier, piano. Liszt brought solo performance to the public with an ecstasy which has never been surpassed. Each of these required a different stance in the mind of the performer, as well as their physical work. At the organ the strength and power of the fingers has no impact on the sound. Only the timing of the movement of the fingers delivers sound through the pipe organ. In Bach's time he was called upon for his technical commentary on great organs being built in various cities by the town authorities. He understood the tracker action. This was a series of levers and mechanical parts from the key to pull open the valve at the base of the pipes and release air into the pipes. This was a very refined system to give the organist control over the precise timing of each pipe sounding. The strength and muscularity of the performer had no impact on the sound. The lightest movement on the key was desired, because a physical exertion had no impact on the sound. At the harpsichord, similarly, a quiet hand made the same sound as a large effort. The quill plucks the string in the same way regardless of the physical exertion of the player. With the clavichord this changed a little. On the clavichord a small hammer hits the key, and the speed and strength of the performer and her fingers has an effect on the sound. The modern piano allows infinite variety in colour and sound. It is so beautifully played in this Prelude and Fugue of Bach, played by Adam Repa, one of our performers. Beethoven Fantasy Op 77 is possibly the closest composition to what Beethoven sounded like as an improviser. Beethoven's fame spread through Vienna first through his virtuosity, and extraordinary creativity of his improvisations in salons of aristocrats and leaders of cultural thinking. This Fantasie Op. 77 is rarely played in public concerts, but its allure is evident. The inquisitive searching of the opening downward scale. The ferocity of the questions asked. The gentle introspection of the lyrical passages. Liszt took the piano to the grand public. He was the virtuoso who coined the term 'Recital' for a concert of solo piano music. Women were infatuated with him and his concert tours were grandiose affairs. He was demonic, and this recording of the Totentanz is a kind of dance with death, a challenge to the status quo, an ebullience of emotion sweeping his audience into new worlds. We close this section on the multifaceted keyboard with a beautiful Fugue for the organ by J. S. Bach. It has a lightness and humour. It has an attraction for the listener, which transcends the academic perception of Bach, it is a flight of fancy, whilst grounded in the discipline of the Fugal construction.
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  • Passacaglia

    Passacaglia

    FC16687 Trio Sonata No. 3 in D minor, BWV 527, Trio Sonata No. 4 in E minor, BWV 528, Passacaglia in C minor, BWV 582

      Passacaglia

      Recording identifier: rw2147485181 Label: Forlane CI Catalogue number: FC16687 Conductors: Producer: Ivan Pastor Engineer: Jean-Marc Laisne Recording date: 1992-01-01 Performance timing: 816 Ensemble: Leader: Recording location: Rosel Castle

      FC16687

      Passacaglia

      FC16687

        Trio Sonata No. 3 in D minor, BWV 527, Trio Sonata No. 4 in E minor, BWV 528, Passacaglia in C minor, BWV 582

        13:36

        Recording identifier: rw2147485181 Label: Forlane CI Catalogue number: FC16687 Conductors: Producer: Ivan Pastor Engineer: Jean-Marc Laisne Recording date: 1992-01-01 Performance timing: 816 Ensemble: Leader: Recording location: Rosel Castle

        13:36

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      • Well-Tempered Clavier, Book I - Prelude and Fugue No. 16 in G minor BWV 861 Repa

        Adam Repa - Bach, BWV 861

        cwlTemp008 Adam Repa, Pianist

          Adam Repa - Bach, BWV 861

          Recording identifier: Label: Catalogue number: Conductors: Producer: Engineer: Recording date: 2019-11-15 Performance timing: Ensemble: Leader: Recording location:

          cwlTemp008

          Adam Repa - Bach, BWV 861

          cwlTemp008

            Adam Repa, Pianist

            04:44

            Recording identifier: Label: Catalogue number: Conductors: Producer: Engineer: Recording date: 2019-11-15 Performance timing: Ensemble: Leader: Recording location:

            04:44

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          • Fantaisie

            FC16678 Piano Sonata No. 25 in G, Op. 79 (Sonatina alla tedesca), Piano Sonata No. 26 in E flat, Op. 81a (Les Adieux / The Farewell), Piano Sonata No. 24 in F sharp, Op. 78 (à Thérèse / To Teresa)

              Recording identifier: rw2147485146 Label: Forlane CI Catalogue number: FC16678 Conductors: Producer: Ivan Pastor Engineer: Jean-Marc Laisne Recording date: 1992-01-01 Performance timing: 605 Ensemble: Leader: Recording location: Auditorium du Centre Culturel de la Ville de Boulogne Billancour

              FC16678

              FC16678

                Piano Sonata No. 25 in G, Op. 79 (Sonatina alla tedesca), Piano Sonata No. 26 in E flat, Op. 81a (Les Adieux / The Farewell), Piano Sonata No. 24 in F sharp, Op. 78 (à Thérèse / To Teresa)

                10:05

                Recording identifier: rw2147485146 Label: Forlane CI Catalogue number: FC16678 Conductors: Producer: Ivan Pastor Engineer: Jean-Marc Laisne Recording date: 1992-01-01 Performance timing: 605 Ensemble: Leader: Recording location: Auditorium du Centre Culturel de la Ville de Boulogne Billancour

                10:05

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              • Totentanz

                Andante - allegro - allegro moderato

                FC16516 Les préludes, Totentanz, S. 126 (Dance of the dead), Hungarian Fantasy

                  Andante - allegro - allegro moderato

                  Recording identifier: rw2147484643 Label: Forlane CI Catalogue number: FC16516 Conductors: Jean-Claude Casadesus Producer: Ivan Pastor Engineer: Jean-Martial Golaz Recording date: 1983-01-01 Performance timing: 1015 Ensemble: Luxembourg Radio Symphony Orchestra Leader: Recording location: Villa Louvigny, Luxembourg

                  FC16516

                  Andante - allegro - allegro moderato

                  FC16516

                    Les préludes, Totentanz, S. 126 (Dance of the dead), Hungarian Fantasy

                    16:55

                    Recording identifier: rw2147484643 Label: Forlane CI Catalogue number: FC16516 Conductors: Jean-Claude Casadesus Producer: Ivan Pastor Engineer: Jean-Martial Golaz Recording date: 1983-01-01 Performance timing: 1015 Ensemble: Luxembourg Radio Symphony Orchestra Leader: Recording location: Villa Louvigny, Luxembourg

                    16:55

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                  • Fugue

                    Fugue in G minor

                    FC16667 Suite in C, K. 399, Variations for Organ in F (), 6 Preludes to Fugues by J.S & W.F Bach, K. 404a

                      Fugue in G minor

                      Recording identifier: rw2147485126 Label: Forlane CI Catalogue number: FC16667 Conductors: Producer: Ivan Pastor Engineer: Recording date: 1991-01-01 Performance timing: 151 Ensemble: Leader: Recording location: At the organ of Saint-Vincent de Bagnères de Bigorre

                      FC16667

                      Fugue in G minor

                      FC16667

                        Suite in C, K. 399, Variations for Organ in F (), 6 Preludes to Fugues by J.S & W.F Bach, K. 404a

                        02:30

                        Recording identifier: rw2147485126 Label: Forlane CI Catalogue number: FC16667 Conductors: Producer: Ivan Pastor Engineer: Recording date: 1991-01-01 Performance timing: 151 Ensemble: Leader: Recording location: At the organ of Saint-Vincent de Bagnères de Bigorre

                        02:30

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