Bach and the Pedal Clavichord: An Organist's Guide (Eastman Studies in Music)

Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote: "Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal, an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let such instruments be made again, because actually no one who wants to study to be an organist can really do without one." What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organists or was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kind of vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide are some extraordinary recent experiments from the Göteborg Organ Art Center (GOArt) at Göteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was then used for several years as a living instrument for organ students and teachers to experience. On the basis of these experiments and experiences, the book explores, in new and artful ways, Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel (1802), and by Forkel's own student, Griepenkerl. An examination of the role of the pedal clavichord in understanding the work of J. S. Bach, as well as its relevance to contemporary organ performances.Friederich Griepenkerl, in his 1844 introduction to Volume 1 of the first complete edition of J. S. Bach's organ works, wrote:'Actually the six Sonatas and the Passacaglia were written for a clavichord with two manuals and pedal,an instrument that, in those days, every beginning organist possessed, which they used beforehand, to practice playing with hands and feet in order to make effective use of them at the organ. It would be a good thing to let suchinstruments be made again, because actually no one who wants to study to be an organist can really do without one.'What was the role of the pedal clavichord in music history? Was it a cheap practice instrument for organistsor was Griepenkerl right? Was it a teaching tool that helped contribute to the quality of organ playing in its golden age? Most twentieth-century commentary on the pedal clavichord as an historical phenomenon was written in a kindof vacuum, since there were no playable historical models with which to experiment and from which to make an informed judgment. At the heart of Bach and the Pedal Clavichord: An Organist's Guide are some extraordinary recentexperiments from the Göteborg Organ Art Center [GOArt] at Göteborg University. The Johan David Gerstenberg pedal clavichord from 1766, now in the Leipzig University museum, was documented and reconstructed; the new copy was thenused for several years as a living instrument for organ students and teachers to experience. On the basis of these experiments and experiences, the book explores, in new and artful ways, Bach's keyboard technique, a technique preserved by his first biographer, J. N. Forkel [1802], and by Forkel's own student, Griepenkerl. An examination of the role of the pedal clavichord inunderstanding the work of J. S. Bach, as well as its relevance tocontemporary organ performances. Friederich Griepenkerl,in his 1844 introduction to Volume 1 of the first complete editionof J. S. Bach's organ works, wrote: "Actually the six Sonatas andthe Passacaglia were written for a clavichord with two manuals andpedal,an instrument that, in those days, every beginning organistpossessed, which they used beforehand, to practice playing withhands and feet in order to make effective use of them at the organ.It would be a good thing to let suchinstruments be made again,because actually no one who wants to study to be an organist canreally do without one." What was the role of the pedal clavichordin music history? Was it a cheap practice instrument fororganistsor was Griepenkerl right? Was it a teaching tool thathelped contribute to the quality of organ playing in its goldenage? Most twentieth-century commentary on the pedal clavichord asan historical phenomenon was written in a kindof vacuum, sincethere were no playable historical models with which to experimentand from which to make an informed judgment. At the heart of Bachand the Pedal Clavichord: An Organist's Guide are someextraordinary recentexperiments from the Göteborg Organ Art Center[GOArt] at Göteborg University. The Johan David Gerstenberg pedalclavichord from 1766, now in the Leipzig University museum, wasdocumented and reconstructed; the new copy was thenused for severalyears as a living instrument for organ students and teachers toexperience. On the basis of these experiments and experiences, thebook explores, in new and artful ways, Bach's keyboard technique, atechnique preserved by his first biographer, J. N. Forkel [1802],and by Forkel's own student, Griepenkerl At The Heart Of Bach And The Pedal Clavichord: An Organist's Guide Are Some Extraordinary Recent Experiments From The Goteborg Organ Art Center (goart) At Goteberg University. The Johann David Gerstenberg Pedal Clavichord From 1766, Now In The Leipzig University Museum, Was Documented And Reconstructed; The New Copy Was Then Used For Several Years As A Living Instrument For Organ Students And Teachers To Experience. On The Basis Of These Experiments And Experiences, The Book Explores, In New And Artful Ways, Johann Sebastian Bach's Keyboard Technique, A Technique Preserved By His First Biographer, J.n. Forkel (1802), And By Forkel's Own Student, Griepenkerl. It Also Sifts And Weighs The Assumptions And Claims Made For And Against The Clavichord And Pedal Clavichord Over Two And A Half Centuries: By Bach's Son, Carl Philipp Emanuel, By Such Noted Bach Scholars As Walter Emery And Robert Marshall, And By Sharp-eared Music Lovers, Including One Of The Most Perceptive (and One Of The Few From His Era To Have Actually Encountered A Clavichord And Recognized Its Unique Qualities), George Bernard Shaw.--jacket. Pt. 1. Source Studies. The Historical Pedal Clavichord ; J.s. Bach's Trio Sonatas : A Reception History Of A Rumor ; Reconstructing The Gerstenberg Pedal Clavichord ; J.s. Bach And The Clavichord : A Reception History Of A Technique -- Pt. 2. Performance Practice Studies. Performance Practice At The Pedal Clavichord ; Musica Poetica And Figural Notation ; J.s. Bach's Passacaglia In C Minor, Bwv 582 : A Case Study ; The Pedal Clavichord And The Organ In Dialogue. Joel Speerstra ; Foreword By Hans Davidsson. Includes Bibliographical References (p. [187]-198) And Index. CONTENTS 8 LIST OF FIGURES, TABLES, AND MUSIC EXAMPLES 9 ACKNOWLEDGEMENTS 11 FOREWORD by Hans Davidsson 12 Introduction 16 Part One: Source Studies 26 Prelude to Part One 28 1. The Historical Pedal Clavichord 32 2. J. S. Bach’s Trio Sonatas: A Reception History of a Rumor 47 3. Reconstructing the Gerstenberg Pedal Clavichord 67 4. J. S. Bach and the Clavichord: A Reception History of a Technique 84 Part Two: Performance Practice Studies 104 Prelude to Part Two 106 5. Performance Practice at the Pedal Clavichord 110 6. Musica Poetica and Figural Notation 129 7. J. S. Bach’s Passacaglia in C Minor, BWV 582: A Case Study 144 8. The Pedal Clavichord and the Organ in Dialogue 164 Appendix: Friederich Conrad Griepenkerl’s Preface to J. S. Bach’s Chromatic Fantasy and Fugue (1819) 176 NOTES 187 BIBLIOGRAPHY 202 INDEX 214