Das wohltemperierte Klavier II, BWV 870-893 (Arr. String Quartet By Mozart K. 405 No. 3): 3. Fugue in E Major (BWV 878)
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific … Read Full Bio ↴Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture".
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Born in Salzburg, then in the Holy Roman Empire and currently in Austria, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court but grew restless and traveled in search of a better position.
While visiting Vienna in 1781, Mozart was dismissed from his Salzburg position. He stayed in Vienna, where he achieved fame but little financial security. During his final years there, he composed many of his best-known symphonies, concertos, and operas. His Requiem was largely unfinished by the time of his death at the age of 35, the circumstances of which are uncertain and much mythologized.
Das wohltemperierte Klavier II BWV 870-893 : 3. Fugue in E Major
Wolfgang Amadeus Mozart Lyrics
We have lyrics for these tracks by Wolfgang Amadeus Mozart:
Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem. Agn…
Als Luise die Briefe ihres ungetreuen Liebhabers verbrannte Erzeugt von heißer Phantasie, In einer schwärmerischen Stund…
Ave Maria Ave, ave verum corpus natum De Maria virgine Vere passum imm…
Ave Verum Ave ave verum corpus natum de Maria Virgine Vere passum, imm…
Ave Verum Corpus K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Ave verum corpus, K. 618 Ave verum corpus natum de Maria Virgine Vere passum, immolat…
Ave Verum K.618 Ave verum corpus, natum De Maria Virgine Vere passum, immola…
Batti Batti O Bel Masetto Batti, batti, o bel Masetto, La tua povera Zerlina; Starò qu…
Benedictus Benedictus qui venit in nomine Domine. Hosanna in excelsis!…
Confutatis Confutatis maledictis, flammis acribus addictis, voca me c…
Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen Tod und Verzweiflung…
Der Vogelfänger bin ich ja Der Vogelfänger bin ich ja Stets lustig heissa hopsasa! Ic…
Die Zauberflöte K. 620 Act 2: Der Hölle Rache kocht in meinem Herzen, Tod und Verzweiflung…
Die Zauberflöte: Der Hölle Rache kocht in meinem Herzen Der Hölle Rache kocht in meinem Herzen, Hells Revenge cooks …
Dies Irae Dies irae Dies illa Solvet saeclum en favilla Teste david…
Domine Jesu Domine, Jesu Christe, Rex gloriae, libera animas omnium fid…
Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Hostias Hostias et preces tibi, Domine laudis offerimus tu suscipe…
I Introitus : Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
III CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
III. Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
III. Sequentia: / Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Introitus Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Introitus Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
iv HOSTIAS et preces tibi, Domine, laudis…
IV. Offertorium: / Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Kyrie Kyrie eleison. Christe eleison. Kyrie eleison.…
La' ci darem la mano (Don Giovanni): Là ci darem la mano, Là mi dirai di sì, Vedi…
Lacrimosa Lacrymosa dies illa, qua resurget ex favilla judicandus ho…
Laudate Laudate Dominum omnes gentes Laudate eum, omnes populi Quon…
Le Nozze di Figaro: Che soave zeffiretto Sull'aria... Che soave zeffiretto... Zeffiretto... Questa se…
Le nozze di Figaro: Cinque... dieci... venti... trenta... Cinque... dieci... venti... trenta... Trentasei... quarantat…
Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
O Fortuna O Fortuna, velut Luna statu variabilis, semper crescis a…
Offertorium Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Offertorium Hostias HOSTIAS et preces tibi, Domine, laudis…
Offertorium%3A Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Porgi amor Porgi, amor, Qualche ristoro Al mio duolo A′miei sospir! O …
Porgi, amor (Le nozze di Figaro) Porgi, amor, qualche ristoro al mio duolo a'miei sospir! O …
Queen Of The Night Aria Der Hölle Rache kocht in meinem herzen Tot und verzweiflung …
Recordare Recordare Jesu pie, quod sum causa tuae viae, ne me perdas…
Requiem 1. Requiem Requiem aeternam dona eis, Domine, et lux…
Requiem Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem in D minor K 626: 3. Sequentia: "Recordare" Recordare, Jesu pie, Quod sum causa tuae viae, Ne me perdas …
Requiem in D minor K. 626: I. Introitus: "Requiem aeternam" INTROITUS Requiem aeternam dona ets, Domine, et lux perpetu…
Requiem in D minor K.626 Dies iræ, dies illa Solvet sæclum in favilla Teste David cum…
Requiem in D Minor K.626: 1. Introitus: Requiem Requiem aeternam dona eis, Domine, Et lux perpetua luceat ei…
Requiem in D Minor K.626: 3. Sequentia: Lacrimosa La crimosa Dies illa Qua Re sur get est fa vi lla Iudicandus…
Requiem in D Minor K.626: 4. Offertorium: Domine Jesu Domine, Jesu Christe, Rex gloriae, rex gloriae Libera animas…
Requiem in D Minor K.626: 4. Offertorium: Hostias Hostias et preces, tibi, Domine, Laudis offerimus: Tu suscip…
Requiem Introitus Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem%2C Dies irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Requiem, Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Agnus Dei CHORUS AGNUS DEI, qui tollis peccata …
Requiem: Dies irae Dies iræ, dies illa Solvet sæclum en favilla Teste davidcum …
Requiem: Domine Jesu DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Introitus: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: IV. Offertorium: Domine Jesu Christe DOMINE Jesu Christie, Rex Gloriaee, libera …
Requiem: Lacrimosa Requiem aeternam dona eis, Domine, et lux perpetua luceat ei…
Requiem: Requiem Requiem aeternam dona eis, Domine; et lux perpetua luceat ei…
Requiem: Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Requiem: VII. Agnus Dei Agnus Dei, qui tollis peccata mundi Dona eis requiem sempite…
Requiem: VIII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Rex Tremendae Rex tremandae maiestatis, qui salvandos salvas gratis, sal…
Rex Tremendae Majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Ridente la calma K.152 Ridente la calma nell′alma si desti Né resti più segno di…
Sanctus Sanctus, sanctus, sanctus Dominus Deus Sabaoth! Pleni sunt…
Sequentia Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia Rex tremendae CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Sequentia%3A Dies Irae CHORUS Dies irae, dies illa Solvet saeclum in favilla, Teste…
Sequentia: Rex tremendae majestatis CHORUS Rex tremende majestatis, Qui salvandos salvas gratis …
Time To Say Goodbye cutumn roams silently through the streets, You'll be gone, a…
Tuba Mirum Tuba mirum spargens sonum per sepulchra regionum, coget om…
Turkish March Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa Issa …
V. Sanctus SANCTUS, Domine Deus Sabaoth. Pleni sunt …
VII. Agnus Dei Agnus Dei, qui tollis peccata mundi, dona eis requiem Agnus…
VII. Communio: Lux aeterna SOPRANO SOLO AND CHORUS LUX eterna …
Voi che sapete che cosa è amor Voi che sapete Che cosa è amor, Donne, vedete S′io l'ho nel …
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Peter Watchorn
This is just a short introduction by the performer for those listening to this recording.
This recording, made in April, 2009, three years after the recording of Book 1, was designed to present this incomparable work with the benefit of all the resources available then. First, I had studied the work for many years, including with the great harpsichordist Isolde Ahlgrimm (1914-1995) in Vienna. In addition, I had the perfect harpsichord for Book 2, built by Australia's doyen of harpsichord making, Alastair McAllister. This instrument, copied from an original by Johann Heinrich Harrass, who likely built Bach's own harpsichord, has the perfect combination of power, majesty and expressiveness to do justice to the universe of variety to be found within Book 2. This was combined with a pedal harpsichord (with a 2 1/2 octave range and 8', 4', & 16' strings), built in the Hubbard harpsichord shop (where I also worked building harpsichords) in Waltham, MA in 1990. It adds the profundity of the organ to certain of the preludes and fugues (no. 16 in G minor, for example, where the entire bass line of the prelude fits it precisely and idiomatically). In the C# major prelude, it plays the bass line at 16' pitch, which allows the important tenor part to be heard with maximum clarity. In this regard, I followed Isolde Ahlgrimm's example, from her 1953 recording, which I studied very closely from the age of 11, decades before I met and worked with her directly.
I also had the benefit of Bradley Lehman's (2004) research into the precise tuning system that Bach might have used, enshrined in code on the title page of WTC I from 1722, which provides individual character to the unprecedented variety of keys that Bach represents here. With all these elements in place I set out to produce the best recording possible. If you are following the score, you will notice a few departures: this is because I used the 1924 edition by Donald Francis Tovey, which collates Altnikol's authoritative readings (Altnikol was Bach's son-in-law and a principal copyist of his last years) with the London autograph (located in the British Museum). In Prelude no. 5 you will hear the realization of Bach's mysterious "double" time signature: in common time and 12/8 simultaneously. This requires that the dotted figures be sharpened and made non-synchronous with the prevailing gigue-rhythm in 12/8. Isolde Ahlgrimm was the first to do it, and I followed her example, which, I think makes this mysterious piece immediately intelligible - and exciting. Donald Tovey makes this necessity clear in his introduction to this prelude in his 1924 edition, used both by Isolde Ahlgrimm and by me for our respective recordings. I set out to show that Bach's music could only be fully realized by utilizing his own resources with taste and skill. Then, as with all great composers, instrument, performer and listener are stretched to the limit, creating the kind of cutting-edge experience that was taken for granted when the work was brand new, and which is diluted when one of those elements is missing. With Book 2 of the Well-Tempered Clavier, this phenomenon is on full display, as all participants are pushed to the limit of what the human mind can assimilate. Peter Watchorn
Frédéric Chopin
You sir, are a remarkable performer!
Frédéric Chopin
I’m so glad this particular set of recordings is getting the attention it deserves. Peter Watchorn is a phenomenal harpsichordist, up there with the likes of Trevor Pinnock!
Peter Watchorn
Just one further comment (from the performer of this recording): I conceived the performance as a cycle, not a series of unrelated pieces. It is far more powerful when listened to that way, especially with Altnikol's score in front of you. If you take a break, do it after no 12 and divide the work into halves; or, perhaps into thirds (after nos. 8 & 16). Then the scale and majesty of the work will be more fully revealed. Peter Watchorn
Frans Meersman
Mr. Peter Watchorn as a non-musicien I realise there shall always be a dimension in music that I ultimately not can experience, but I appreciate your elucidations of the music and your magnificent performance very much.
Karin Junker
To Peter Watchorn:
Yesterday, after about an hour, I realized, that I wouldn't be able to fully savor the entire performance
and decided to continue the following day. Had I read your additional note, I would have gladly taken
your suggestion. However, I made sure to pick an appropriate spot, that I felt comfortable with. How
much I enjoyed listening to the remaining 2/3s you can read in my comment of today. Oh, what an
extra bonus to have you elaborate on your two performances of Books I & II. Thank you for this treat.
What an adventure to converse with such a renowned and fabulous musician! Best regards ... Karin
Ali Shalileh
Love it. 2:01:07 is one of my favourite parts of the entire WTK. Wonderful to be able to see Bach’s manuscript as well. Thank you!
Frans Meersman
Thank you very much for Book II of this sublime music with wonderful Peter Watchorn !
Karin Junker
It is easy to tell, that you feel as enriched as I do, about having heard Peter Watchorn's magnificent
performance of "Das Wohltemperierte Clavier". How lucky are we to be able to enjoy. Hugs Frans!
Frans Meersman
@Karin Junker Now we can wait hopefully for the other books. It is just midnicht, so for me it is goodnicht, while you sit maybe again in the sunshine. Hugs Karin !