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Book Size: 8 1/2 x 11 * * * * * * THE Well-tempered Clavichord of Johann Sebastian Bach has exercised a far-reaching influence in the development of music, an influence which will continue to last until the end of time. So much glory has surrounded the work that it is unjust to add the unmerited distinction of being the deciding factor in the adoption of equal temperament as a basis for musical composition. It merely happened that Bach concurred with the majority without the majority knowing anything about his opinion. Many a musician before Bach demonstrated the possibility of equal temperament in his compositions. A Fantasia (number 51 in the Fitzwilliam book) composed by John Bull (1563-1628) modulates into all twelve keys. John Jenkins in his Fancy for three viols (sometime before 1667) modulates from F major through all the flat keys to G flat. There are numerous other good examples which demonstrate that equal temperament had come to stay before Bach even thought of writing the Well-tempered Clavichord. That the conception and execution of Well-tempered Clavichordand other compositions of Bach caused but little commotion during his life time is the certain conclusion that a study of his life brings us to. The only noteworthy event which enlivened his existence was his meeting with Frederick the Great, who himself played the flute. Any little fame which may have gathered to the name of Bach during his lifetime seems mainly due to his ability as an organist. So little were his compositions known that Hawkins' History of Music (published 1776) seems ignorant of any works by Bach excepting the Klavier bung, from which three short pieces for harpsichord are printed. This is in spite of the fact that Hawkins had information from Bach's son, John Christian Bach, who was then residing in London.

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9781722223960

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