This site introduces unknown Emanuel Bach (C. P. E. Bach). This English version was translated from Japanese one by ChatGPT.
Sebastian Bachʼs Das Wohltemperierte Klavier (the Well-tempered Clavier) has traditionally been translated as “The Well-Tempered Clavier.” However, since equal temperament was hardly used during Bachʼs time, this is considered a clear mistranslation. Therefore, following the example of Genzou Takehisa, I will translate it as “The Well-Tempered Clavier.” If no specific instructions are given, ChatGPT4o also translates it as “The Well-Tempered Clavier,” but I have rewritten it as “The Well-Tempered Clavier.”
I asked ChatGPT4o: "Was the collection of pieces known in Japanese as ʼThe Well-Tempered Clavierʼ performed in equal temperament at the time? Wasnʼt the tuning at that time different from equal temperament?"
The “Well-Tempered Clavier” (Das wohltemperierte Klavier) is translated as “equal temperament” in modern Japanese, but the tuning methods of the time differed from the modern “12-tone equal temperament.” In Bachʼs era, various “temperaments” (tuning methods) were used, and complete equal temperament (modern 12-tone equal temperament) was not yet common.
The tuning method Bach intended to use in the “Well-Tempered Clavier” is thought to correspond to “mean-tone temperament” or “well-tempered tuning,” rather than modern 12-tone equal temperament. These tuning methods were designed to maintain a certain harmony across different keys while allowing the characteristics and colors of each key to be felt.
The main tuning methods of the time included the following:
Meantone Temperament: A tuning method optimized for specific keys, producing very beautiful sounds in some keys, but causing dissonance in remote keys (e.g., C# minor or Eb minor), thus limiting the usable keys.
Unequal Temperament (Well-Tempered): Well-tempered tuning was designed to have a relatively natural sound even in remote keys. It is not completely equalized but is adjusted to allow the use of almost all keys. It is believed that Bach intended this “well-tempered tuning.”
When Bach used the term "wohltemperiert (well-tempered)," he referred to a tuning method that allowed the use of all 24 major and minor keys, without favoring specific keys, and envisioned a temperament that could naturally play a wide range of keys. This is close to the modern concept of 12-tone equal temperament, but it was strictly different. In Bachʼs time, there were subtle differences in sound for each key, and these differences were valued as elements that gave music its color.
The “Well-Tempered Clavier” was not referring to modern 12-tone equal temperament but was composed based on the “well-tempered tuning” of the time. This tuning method was adjusted so that the characteristics of each key were not lost even when using all 24 major and minor keys. Bach aimed to explore keyboard music that could be played in all keys, using a tuning method different from modern 12-tone equal temperament.
I asked ChatGPT4o: "Why is it called ʼThe Well-Tempered Clavierʼ in English, but in Japanese, it is called ʼThe Well-Tempered Clavierʼ?"
The reason why it is called "The Well-Tempered Clavier" in English and “The Well-Tempered Clavier” in Japanese is related to historical factors concerning translation and the interpretation of music theory.
The term “equal temperament” itself is based on the "12-tone equal temperament" established in the 19th century (a method where all semitones are tuned at equal intervals). The term “equal temperament” became widespread in Japanese after Western music theory was introduced to Japan during the Meiji era. At that time, when music theory and classical music materials were translated, it became common to translate “Well-Tempered” as “equal temperament.” This was because 12-tone equal temperament was the modern standard tuning method, and the meaning of the “well-tempered tuning” of the time was understood to be close to 12-tone equal temperament.
The original German title "Das wohltemperierte Klavier" translates directly to “well-tempered clavier.” The term "wohltemperiert (well-tempered)" contained nuances specific to the tuning methods of Bachʼs time, but with the development of music theory after the 19th century, the interpretation of “evenly adjusted” or “a tuning method usable in all keys” became widespread. As a result, especially in Japanese, the term “equal temperament” came to be used as an expression referring to the tuning of the time.
The establishment of the name “The Well-Tempered Clavier” in Japan is also due to the initial reception of music theory, where there was a misunderstanding that the tuning method used by Bach was the same as modern 12-tone equal temperament. Although the “well-tempered tuning” used by Bach was strictly different from modern equal temperament, once the translation “The Well-Tempered Clavier” spread, it became established as such.
The translation “The Well-Tempered Clavier” functioned as an easy-to-understand term when teaching music theory in Japanese. In modern music education, 12-tone equal temperament is widely used as the standard tuning method, so the subtle differences in the tuning method intended by Bach are less often explained, and the term “equal temperament” has become widely popular.
The reason why "The Well-Tempered Clavier" is called “The Well-Tempered Clavier” in Japanese is due to the standardization of 12-tone equal temperament in music theory after the 19th century and the process of translation when that theory was introduced to Japan, where “Well-Tempered” was understood and established as “equal temperament.” Although there are differences between the tuning methods of the time and modern equal temperament, the nuances were omitted in Japanese, leading to the widespread use of the name “The Well-Tempered Clavier.”
I asked ChatGPT4o: "How is The Well-Tempered Clavier tuned when performed on historical instruments today?"
When “The Well-Tempered Clavier” is performed on historical instruments, tuning methods from the Baroque era, such as “well-tempered” or other “historical temperaments,” are often used instead of modern 12-tone equal temperament. This highlights the differences in tone and sound characteristics of each key, allowing for performances closer to the musical sensibilities of the time. Below are some of the representative tuning methods used in modern historical performances.
This tuning method is close to the meaning of “well-tempered” that Bach intended. Well-tempered tuning is designed to treat various keys equally, not just specific ones. There are subtle changes in tone for each key, allowing different emotions and sounds to be expressed for each major and minor key. For example, the further the key, the more unique brightness or tension can be felt.
Proposed by Andreas Werckmeister, this tuning method was widely used in Bachʼs time. There are several variations of Werckmeister temperaments, but overall, all keys are usable, and it is suitable for the harmonic sounds and contrapuntal works required in Baroque music. In this tuning method, specific keys are set to sound brighter, while others sound darker, emphasizing the character of each key.
Developed by Johann Philipp Kirnberger, this tuning method is also known to be suitable for Bach and his eraʼs music. Kirnbergerʼs tuning method is based on older meantone temperaments but is adjusted to allow the use of more keys. This allows for the beauty of the sound of keyboard instruments while enabling the use of a wide range of keys.
Proposed by Francesco Antonio Vallotti, this tuning method was popular in the late 18th century. It allows for more flexible tuning adjustments by slightly equalizing the interval differences between each key. Vallotti temperament is also very effective in Bachʼs music, creating a pleasant sound across a wide range of keys.
Used in the early Baroque period, meantone temperament is a tuning method adjusted to produce pure major thirds. However, in this tuning, playing in remote keys (e.g., C# minor or Eb minor) results in strong dissonance, making it unsuitable for works like Bachʼs “The Well-Tempered Clavier,” which uses multiple keys. However, it may be used for Baroque works that use specific keys.
Modern 12-tone equal temperament is tuned so that all semitones are equal intervals, allowing the same sound in any key. However, in Bachʼs “The Well-Tempered Clavier,” it was intended to emphasize the differences between keys. Therefore, in historical instrument performances, using the tuning methods of the time is important to give each key its unique color and emotion.
When performing “The Well-Tempered Clavier” on historical instruments, Werckmeister temperaments, Kirnberger temperaments, or other “well-tempered” tuning methods are often used. These tuning methods can bring out the beauty of Bachʼs eraʼs music and the characteristics of each key, aiming to create a richer sound different from modern equal temperament. By using such tuning, it is possible to more faithfully reproduce the musical intentions and individuality of the keys of the time.
I asked ChatGPT4o: "Please list the performances of The Well-Tempered Clavier available on CD that use mean-tone, Werckmeister, Kirnberger, and Vallotti temperaments."
Below are examples of recordings of Bachʼs *“The Well-Tempered Clavier”* using historical tuning methods. These allow you to listen to recordings performed with sounds closer to Bachʼs time.
Colin Booth - This recording uses Kirnberger III temperament and is performed on a harpsichord recreated from a 1661 Nicolas Celini instrument. Boothʼs performance is characterized by contrapuntal clarity and careful interpretation of tempo and ornamentation. This recording is an excellent example of how Bachʼs music sounds with Kirnberger temperament.
References: The Diapason,The Ethan Hein Blog.
Christine Schornsheim - Performed on a 1624 Ruckers harpsichord, using historical tuning methods (the specific tuning method varies by recording). Her performance is praised for its vivid character and historical interpretation.
Reference:Presto Music.
These recordings bring out the unique colors and emotions of each key, distinct from modern 12-tone equal temperament, with particularly noticeable changes in tone in remote keys.
I asked ChatGPT4o: "You mentioned ʼKirnberger III temperament,ʼ but are there multiple versions of Kirnberger temperament?"
Yes, there are multiple versions of Kirnberger temperament. Three main variations are known, each producing different sounds for different keys, and they were used to achieve specific effects in Bachʼs and his eraʼs music.
This version is based on meantone temperament, particularly adjusting major thirds to be pure. This results in beautiful sounds in a limited range of keys, but dissonance occurs in remote keys, limiting the usable keys.
This version has fewer restrictions on keys than Kirnberger I, allowing for harmony in more keys. However, there are still strong differences in sound in specific keys.
Kirnberger III is the most widely known version and is positioned as one of the **“well-tempered tunings.”** This tuning method provides relatively stable sounds even in remote keys while retaining the unique character of each key. Therefore, it is often used in performances of Bachʼs “The Well-Tempered Clavier.” It is particularly suitable for contrapuntal works, utilizing the transparency of sound and nuances of each key.
These tuning methods are chosen based on the musical expression sought by composers and performers and the keyboard instruments used. Kirnberger III is often considered optimal for Baroque music due to its balance of harmony.
I asked ChatGPT4o: "Are there any piano performances of The Well-Tempered Clavier that use non-equal temperament tuning?"
There are a few piano recordings of *“The Well-Tempered Clavier”* that use non-equal temperament tuning, particularly those by performers or recordings interested in “historical tuning methods.”
One example is a piano recording using Thomas Youngʼs tuning. This adopts the “Young temperament” developed in the late 18th century, allowing for very rich sounds in specific keys. In this tuning method, the characteristics of each key are emphasized, with unstable sounds in remote keys like F# or C#, while enjoying very stable sounds in keys like C or F.
References: Daniel Adam Maltz,Mathematics | University of Waterloo.
Kirnberger III Temperament is also sometimes used on the piano. This tuning method is one of the “well-tempered” tunings used in Bachʼs time, giving each key its unique nuance. Although there are few piano recordings, specific performers have adopted this tuning.
Reference: Daniel Adam Maltz.
While modern pianos are mainly tuned in 12-tone equal temperament, using these historical tunings allows for enjoying sounds closer to Bachʼs time and the differences between keys.
I asked ChatGPT4o: "Was The Well-Tempered Clavier often performed in non-equal temperament tuning in the 20th century?"
In the 20th century, The Well-Tempered Clavier was mainly performed in modern 12-tone equal temperament. This is largely related to the standardization of 12-tone equal temperament as a tuning method for pianos. As piano technology and concert hall installations evolved, 12-tone equal temperament, which provides uniform sound and stable resonance in all keys, was widely accepted and became the standard tuning method for classical music.
References: Daniel Adam Maltz,Mathematics | University of Waterloo.
However, from the latter half of the 20th century, there was a reevaluation of “historical tuning methods” by musicologists and performers interested in Baroque performance practices and tuning methods. This led to attempts to perform in “unequal temperaments” such as well-tempered, Werckmeister temperaments, and Kirnberger temperaments, which were used at the time. These attempts were often seen in performances using harpsichords and clavichords, but they have gradually been incorporated into piano recordings as well.
References:The Ethan Hein Blog, Daniel Adam Maltz.
In summary, while 12-tone equal temperament was the mainstream in the first half of the 20th century, performances based on historical tuning methods increased from the latter half, and this exploration continues today.
I asked ChatGPT4o: "Is there anything left besides the title about Bachʼs intention when composing The Well-Tempered Clavier?"
Regarding Bachʼs intention when composing *“The Well-Tempered Clavier,”* there are some clues, but there are not many clear and detailed explanations. Nevertheless, there are several elements that can be inferred about his intentions.
*“The Well-Tempered Clavier”* is said to have been compiled by Bach for music education. Since Bach himself was active as a music teacher, this work is considered to have been intended for learning keyboard instrument techniques and teaching composition methods. It is known that Bach used this work to teach music theory and performance techniques to his sons and students. By composing preludes and fugues in each key, it is thought that there was an educational intention to enable learners to understand and perform all keys.
*“The Well-Tempered Clavier”* is also considered an experimental work to explore the possibilities of the new tuning method of the time, well-tempered tuning. This tuning method made it possible to perform in all keys, and Bach is thought to have pursued its possibilities. Bach may have explored the balance and changes in tone between keys while utilizing the differences in sound for each key.
Another intention of Bach in composing this work is thought to have been to expand the range of musical expression. By composing preludes and fugues across all 24 keys, he aimed to explore all musically possible keys and express the unique colors and emotions of each key. This was a challenge that went beyond the musical conventions of the time and demonstrated Bachʼs innovative composition techniques.
*“The Well-Tempered Clavier”* was not only for education and experimentation but also considered Bachʼs artistic exploration and challenge in composition techniques. Especially in composing fugues in each key, Bach challenged the limits of counterpoint and left technically advanced works. This allowed him to prove his skills as a composer and open new horizons in music theory.
The intentions behind Bachʼs composition of *“The Well-Tempered Clavier”* are thought to include music education, exploration of tuning methods, expansion of musical expression, and challenge in composition techniques. These elements played a very important role in his music theory and practice and had a significant impact on later generations.
I asked ChatGPT4o: "Is there a connection between Bachʼs attempt to use non-equal temperament tuning for 24 keys and his composition technique relying more on counterpoint than harmony?"
Bachʼs use of unequal temperaments or well-tempered tuning methods for composing works in 24 keys is deeply related to his composition technique, which strongly relied on counterpoint. Below is a detailed explanation of the reasons.
At the core of Bachʼs composition technique was counterpoint. Counterpoint is a technique where multiple independent melodic lines interact while maintaining harmony. In Bachʼs works, especially the fugues in *“The Well-Tempered Clavier,”* each voice moves independently, so the independence and combination of melodic lines are emphasized over harmonic stability in each key.
In compositions that emphasize counterpoint, using unequal temperaments rather than pure or equal temperaments allowed Bach to utilize the differences in sound for each key while emphasizing the complex relationships between voices. For example, even if the sound does not “accurately” resonate in remote keys, the contrapuntal movement of the music often compensates for it, allowing the musical meaning to be established.
In the Baroque era, harmonic stability was not always the top priority. By using tuning methods like unequal temperaments or well-tempered tuning, very beautiful sounds could be obtained in specific keys, but instability and tension could arise in other keys. Bach maintained musical balance through the complex intertwining of contrapuntal melodic lines while using such tuning methods.
In Bachʼs works, while harmonic progression supported by harmony is important, the contrapuntal technique forms the foundation of the music, so the instability of sound due to tuning was often absorbed by counterpoint. Therefore, composing with unequal temperaments was not problematic and became a means to deepen musical tension and emotional expression.
Bachʼs use of all 24 keys in *“The Well-Tempered Clavier”* included an experimental meaning to explore the possibilities of tuning methods, but more than that, his composition technique was based on counterpoint, and he was exploring musical structures that transcended differences in keys. For him, the different sounds of each key were a means to show differences in color and emotion in the work, and integrating the unique sounds of each key into contrapuntal music was one of his musical innovations.
The reason Bach attempted to use 24 keys with unequal temperaments is that his composition technique relied more on counterpoint than harmony, and the differences in sound for each key were compensated by the complex intertwining of voices in counterpoint. This allowed him to overcome the constraints of tuning methods and utilize the different sounds of keys as part of musical expression.
I asked ChatGPT4o: "Are there any documents stating that Bachʼs use of unequal temperaments for 24 keys was related to his composition technique relying more on counterpoint than harmony?"
Currently, there is no direct evidence in the literature showing that Bach used unequal temperaments in *“The Well-Tempered Clavier”* and that his composition technique relied heavily on counterpoint. However, it is highly likely that his choice is related to counterpoint.
When Bach composed works using all 24 keys, he emphasized the differences in each key while adopting well-tempered tuning that allowed performance in all keys. This was thought to be designed so that contrapuntal complex voices would naturally resonate regardless of the key. Regarding Bachʼs tuning methods, Werckmeister temperaments, Kirnberger temperaments, and even Bradley Lehmanʼs theory-based unique tuning methods are discussed.
References:The Juilliard Journal,Wikipedia.
In compositions emphasizing counterpoint, the independence of each voice is prioritized over harmonic stability, so musical effects could be achieved even with unequal temperaments. Therefore, it is speculated that Bach deliberately chose unequal temperaments with the intention of emphasizing counterpoint while exploring the diversity of keys.
Reference:Wikipedia.
Current research has not reached a definitive conclusion on which specific tuning method Bach used, and discussions about tuning methods continue.