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There is currently no direct source linked to J.S. Bach (1685-1750) himself that indicates his te... more There is currently no direct source linked to J.S. Bach (1685-1750) himself that indicates his temperament preference. Thus for the tuning of keyboard compositions by J.S. Bach, the modern-day opinions have been and remain still divided.
The first part of the article gives original quotations (with translations) on musical temperaments from then well-known writers (from antiquity up to the 18th century), as well as those temperaments that were in use during J.S. Bach’s lifetime. This part of the article summarizes the main writers (and practitioners) from
1. Classical Antiquity;
2. The Middle Ages to 16th Century;
3. 17th century Netherlands;
4. 17th century France;
5. Early 17th century Germany
6. 17th and 18th century England
7. Late 17th century and 18th century Germany
8. The introduction of the equal temperament (gleich-schwebende Temperatur) in Germany in the 18th century
by writers such as Neidhardt, Sinn, Fux, Mattheson, Meckenheuser, Mizler, Sorge, Adlung, Silbermann, Fritz, Kirnberger, Marpurg and C.P.E Bach.
The second part of the article is a compilation of quotations (with translations) from the 18th-century that relate to J.S. Bach’s musical temperament as can be found in the Bach Documents.
It is important to read the first part of the article so as to obtain an understanding of what was considered “common knowledge” regarding temperaments during the first half of the 18th century. With this background (and common) knowledge it then becomes possible to contextualize the quotations in the second part of the article that relate to Bach's temperament.
The second version of this article has extended the information regarding Mersenne and the 17th century German writers. In addition, the second section now contains an added 18th century quotation which connects Bach with equal temperament and which is not included in the Bach-Dokumente,
Comments most welcome - please send an email to: bachstemperament@hotmail.nl
A short article summarising Blankenberg's preference against using equal temperamant. Blankenber... more A short article summarising Blankenberg's preference against using equal temperamant. Blankenber's Elementa musica, published in 1739, shows us that there were different opinions about which temperament should be used in the first half of the 18th century, and he makes it clear that books of famous German writers like Werckmeister, Neidhardt and Mattheson, who preferred equal temperament, were read outside Germany as well.
Early Music, 1994
... Not only does it look scandalous when the singers distend their mouths to such a width that o... more ... Not only does it look scandalous when the singers distend their mouths to such a width that one could ride in on a hay-wagon, when they scream so loudly that they go all red and their eyesroll in their sockets like a stuck pig, but above all, it sounds ugly, more closely ...
There is currently no direct source linked to J.S. Bach (1685-1750) himself that indicates his te... more There is currently no direct source linked to J.S. Bach (1685-1750) himself that indicates his temperament preference. Thus for the tuning of keyboard compositions by J.S. Bach, the modern-day opinions have been and remain still divided.
The first part of the article gives original quotations (with translations) on musical temperaments from then well-known writers (from antiquity up to the 18th century), as well as those temperaments that were in use during J.S. Bach’s lifetime. This part of the article summarizes the main writers (and practitioners) from
1. Classical Antiquity;
2. The Middle Ages to 16th Century;
3. 17th century Netherlands;
4. 17th century France;
5. Early 17th century Germany
6. 17th and 18th century England
7. Late 17th century and 18th century Germany
8. The introduction of the equal temperament (gleich-schwebende Temperatur) in Germany in the 18th century
by writers such as Neidhardt, Sinn, Fux, Mattheson, Meckenheuser, Mizler, Sorge, Adlung, Silbermann, Fritz, Kirnberger, Marpurg and C.P.E Bach.
The second part of the article is a compilation of quotations (with translations) from the 18th-century that relate to J.S. Bach’s musical temperament as can be found in the Bach Documents.
It is important to read the first part of the article so as to obtain an understanding of what was considered “common knowledge” regarding temperaments during the first half of the 18th century. With this background (and common) knowledge it then becomes possible to contextualize the quotations in the second part of the article that relate to Bach's temperament.
The second version of this article has extended the information regarding Mersenne and the 17th century German writers. In addition, the second section now contains an added 18th century quotation which connects Bach with equal temperament and which is not included in the Bach-Dokumente,
Comments most welcome - please send an email to: bachstemperament@hotmail.nl
A short article summarising Blankenberg's preference against using equal temperamant. Blankenber... more A short article summarising Blankenberg's preference against using equal temperamant. Blankenber's Elementa musica, published in 1739, shows us that there were different opinions about which temperament should be used in the first half of the 18th century, and he makes it clear that books of famous German writers like Werckmeister, Neidhardt and Mattheson, who preferred equal temperament, were read outside Germany as well.
Early Music, 1994
... Not only does it look scandalous when the singers distend their mouths to such a width that o... more ... Not only does it look scandalous when the singers distend their mouths to such a width that one could ride in on a hay-wagon, when they scream so loudly that they go all red and their eyesroll in their sockets like a stuck pig, but above all, it sounds ugly, more closely ...