The Bach Temperament : Time to Demystify?

Описание: One of the most asked questions you'll get as a keyboard player, is what temperament you use. At the same time, it is but seldom answered a 100% accurately. "It is close to this", or "it is just a 'myself' temperament", where the questioner typically will nod as if that answer was crystal clear. And live moves on.
i have to admit that my search for a Bach temperament took me some years. And communicating around it felt uneasy as well to me, since there seems to be a kind of overall understanding, or acceptance if you will, that as long as you stay within certain perimeters, not to mention equal temperament, everything you do is ok. And even, not interesting. And honestly, when you're dealing daily with temperaments, it is easy to understand that those "after-concerts asked questions" are impossible to answer. You adapt all the time, and even if you would like to have a perfect sterile version of a theoretical temperament description, you'll have a hard time applying it. And when you did succeed, it simply wouldn't work.

One of the reasons why it is so hard to speak freely on the temperament system or principles one uses, has I believe much to do with the reality versus the accepted mainstream framework. In practical live, certainly when playing Bach , who is constantly modulating, you'll hear often temperaments that like to flatten out the differences between the tonalities, but hey, is that not smelling equal temperament and hey, is that not something we rejected already back in the seventies?

In this episode, I'll give you my personal perspective, in depth, with no hiding at all, on what temperament I use for Bach. I used to say it is Werckmeister 1707, which it is, and surprisingly few people ever replied to me knowing what that was about. I even do not recall one person to have met who knew that that temperament, published one year after Werckmeister's death, called "Wohltemperiert" (what's in a name?) was to replace all his previous temperaments and specifically designed if one wanted to play in 24 keys.

Next week I'll give you my take on why Bach felt the need to write in 24 keys.

Hope you enjoy this long episode. Be sure to let me know what your perspective is on this !

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