Jean-Luc Ho

Ancient texts agree in praising both the expressive richness and the high standards of the clavichord, Bach's favorite instrument.

Although it has no specific repertoire, this instrument paradoxically embraces Bach's entire musical thought: from French dance suites, where we rediscover an elastic choreographic energy and obvious vocality, to the concertante style, via the domestic Lutheran sphere and even the most striking Stylus Fantasticus.

Forkel recounts that Bach "considered the clavichord to be the best instrument for study and for any music played in an intimate setting, and the most suitable for expressing his most refined thoughts... [and] capable of so many subtleties despite its small size." 

An instrument of expression par excellence, but also of transmission, it ensures the transition between repertoires and eras: 

Kittel reports that the master “considered the study of the pedal clavichord to be of great importance, and allowed his students to study on a two-manual clavichord with pedals that he had at home. It was precisely this ”3 Klaviere nebst Pedal" that he bequeathed to his son Johann Christian before his death. 

The Chromatic Fantasy 903, performed according to the edition by Griepenkerl, a pupil of Forkel, himself a pupil of Bach, seems to show “how the master played it”: Although the text dates from 1820, it contains numerous nuances, tempo markings, and ornamentation.

Johann Sebastian Bach (1685-1750)
Fantaisie chromatique & Fugue BWV 903

Johann Christoph Bach (1642-1703)
Wenn wir in höchsten Nöten sein
Praeludium & Fuga

Johann Christian Bach (1743-1814)
Fugue für das Pianoforte über die Buchstaben seines Namens BACH, Leipzig ca. 1810

Johann Sebastian Bach (1685-1750)
Suite en la BWV 818a
[Prélude] - Allemande - Courante - Sarabande - Menuet - Giga

Carl Philipp Emanuel Bach (1714-1788)
La Stahl
La Buchholtz

Johann Sebastian Bach (1685-1750)
Wer nur den lieben Gott BWV 690 & 691

Wilhelm Friedemann Bach (1710-1784)
Deux Polonaises 

Johann Sebastian Bach (1685-1750)
Sarabande extraite de la Sixième Partita BWV 830