![\"\"](\"https:\/\/soundslikesydney.com.au\/wp-content\/uploads\/2020\/04\/Capture-5-243x240.png\")
<\/p>\n<\/p>\n
Available tomorrow, April 10, is British harpsichordist and conductor’s new recording on Deutsche Grammophon, J S BACH The Well-Tempered Clavier\u00a0 I.<\/em><\/p>\n Trevor Pinnock is a pioneer of the early music movement. As founder and former leader of The English Concert he enjoys a longstanding relationship with Archiv Produktion and Deutsche Grammophon. Among his celebrated recordings are Bach\u2019s Brandenburg Concertos,<\/em> Handel\u2019s Messiah<\/em> and Concerti Grossi<\/em>, Vivaldi\u2019s Four Seasons, The Harmonious Blacksmith<\/em>, Bach\u2019s Goldberg Variations<\/em> and Partitas.<\/p>\n For this recording, Pinnock performs on a favourite instrument – a copy of a harpsichord by the Franco-German builder Henri Hemsch tuned to the low pitch prevalent in K\u00f6then during Bach\u2019s time there and which, Pinnock says, \u201chas a unique voice which combines a singing quality with enough clarity to allow Bach\u2019s part-writing to shine\u201d.<\/p>\n Throughout his interpretations Pinnock remains true to his core principles: favouring musicality and inspiration above musical orthodoxy. Achieving an exceptional reputation as a conductor, chamber musician and harpsichordist he has received enthusiastic critical acclaim. With his first recording of The Well-Tempered Clavier (Book 1)<\/em> Pinnock explores the summit of Bach\u2019s intellectual and contrapuntal mastery.<\/p>\n \u201cMy journey with the Well-Tempered Clavier has been life-long. I first encountered it at about 12 years old when someone gave me a pink- and gold-bound volume, the old Czerny edition, which we now know to be notoriously unreliable. This gave me hours of discovery. “So, although I subsequently performed various others of the preludes and fugues, any plan to record all of them was repeatedly postponed by increments of ten years until quite recently, when I decided I could put it off no longer. Now they will be a central part of me for the rest of my life.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":" Available tomorrow, April 10, is British harpsichordist and conductor’s new recording on Deutsche Grammophon, J S BACH The Well-Tempered Clavier\u00a0 I. Trevor…<\/p>\n","protected":false},"author":1,"featured_media":27413,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"sls_format":[],"class_list":["post-27412","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"acf":{"deck":"","is_featured":false,"media_type":"standard","audio_embed":"","video_url":""},"yoast_head":"\n
\nA few years later, I heard all the preludes and fugues played on the piano on the radio, and I was hooked. In my twenties I myself recorded some preludes and fugues for radio broadcast, and I knew then that one day I would play them all. The mountain seemed insurmountable, however, and Bach a formidable and severe task master – how could I possibly delve into the density of some of those fugues, let alone understand them?”<\/p>\n