The idea to play some of the smaller jewels by Johann Sebastian Bach and George Friderick Handel came to me in 2019 when I practiced a number of them. The idea was to make a choice of the music that really talks to me.
These are first of all the Allemandes. The Allemande is an old Germanic dance usually the first to appear in a Suite after the Prelude, before the Courante, Sarabande and others of the old dances, ending with a Gigue, a spring dance. Honestly, I do not like all of them except the calm and often meditative Allemandes, so I said to myself I will play only these, even if it stirs contradiction among musicologists to be to that point eclecticistic. But I can play well only what I love, for after all, I have to listen to it so often during the period of practicing and preparing it for recording.
Then I wanted to include all the little pieces that are so wonderful, joyful and innocent, and often surprising that Bach composed for educational purposes, the Preludes in the Little Keyboard Book. The only pianist that to my knowledge had a real passion to play them was Glenn Gould. For most pianists this repertoire goes unnoticed for public performance, probably because they believe it was for educational purposes only. I would disagree here. These are some of the best pieces Bach ever composed!
The same eclecicism I have applied in my choice of some of the Preludes of the Well-Tempered Clavier (Books 1 and 2), and they are Preludes only. I do not play fugues, any fugues. It somehow goes against my grain.
In the following ‘sticky’ posts I will inform you about my repertoire, the whole of this project, what is to be expected as recordings, and the equipment I was using.
I wish you a wonderful listening experience with the Luminaries!
Phnom Penh, February 5, 2020
Peter Fritz Walter