This page is devoted to recorded excerpts from BCS-sponsored events, together with excerpts from recordings of historical significance, no longer commercially available. For other clavichord audio segments, click on links, and explore the web pages of the performers linked to us.

BCS Recitals

Alissa Duryee  |  30 October, 2016

•  Lamento sopra la dolorosa perdita
della Real M. di Ferdinando IV

— Jakob Froberger

•  Concerto after Vivaldi, BWV 977
— Transcribed by J.S. Bach

•  Fantaisie in A minor, BWV 922
— J.S. Bach

Christa Rakich  |  8 May, 2016

•  Sonata in G minor
(from 6 Sonatas for solo harpsichord, 1757)

— Georg Benda

Peter Sykes  |  8 May, 2016

•  C Major prelude and fugue
(from Well-Tempered Clavier Book 1)

— J.S. Bach

•  E minor prelude and fugue
(from Well-Tempered Clavier Book 1)

— J.S. Bach

Christopher Grills  |  7 May, 2016

•  Chromatic Fantasy
— J.S. Bach

Timothy Broege  |  3 April, 2016

•  Prisms
— Andrew Kosinski

Christa Rakich  |  27 January, 2013

•  Six Variations on a Duet by Paisiello, WoO 70
— Ludwig van Beethoven

•  Sonata in C, Opus 7
— Maria Hester Park

Allegro spirito
Benjamin Steens  |  October, 2012

•  Sonata in A minor (1776)
— J. W. Hässler

Poco allegro

•  C Major Fantasy, Wq. 61/6
— C.P.E. Bach

Luc Beauséjour  |  25 September, 2011

•  Sarabande from English Suite No. 3
in G minor, BWV 808

— J.S. Bach

Ulrika Davidsson  |  20 September, 2009

•  Sonata in C Major, Hob. VI:48
— Franz Joseph Haydn

Andante con espressione
Rondo (presto)
David Schulenberg  |  19 April, 2009

• Württemberg Sonata No. 1 in A minor, Wq. 49/1
— C.P.E. Bach

Moderato
Andante
Allegro assai
David Breitman  |  16 September, 2007

•  Sonata in B-flat Major, Hob. XVI:2
— Franz Joseph Haydn

Moderato, Largo, Menuet & Trio
Renée Geoffrion  |  30 October, 2005

•  Selections of works by W.A. Mozart
Sponsored by the Boston Clavichord Society
First Church, Cambridge

K. 397
K. 624
David Schulenberg (clavichord) | 24 October, 2004

•  Excerpts from a recital featuring works
by C.P.E. Bach (“Hamlet” Fantasia
in C minor, W. 63/3/6)
,
W.F. Bach, and J.S. Bach (attributed)

C.P.E. Bach “Hamlet” Fantasia

 

Historical Recordings

Arnold Dolmetsch
Arnold Dolmetsch, 1931
Photo by Herbert Lambert, Bath, England,
courtesy of Teri Noel Towe
Arnold Dolmetsch at the clavichord

•  Chromatic Fantasy, BWV 903 — J.S. Bach

Andante con espressione

Harpeggiando

Recitativo
•  Prelude and Fugue No. 15 in G Major, BWV 884,
from Book II of the Well-Tempered Clavier
— J.S. Bach

Prelude

Fugue
Erwin Bodky  |  1954
•  Aria Sebaldina with variations in F minor — Johann Pachelbel

Erwin Bodky (1896-1958) began his career in Europe. He emigrated to the United States before World War II and settled in the Boston area, where he was active performing and promoting early music. He was a professor of music at Brandeis University and was the founder of the Cambridge Society for Early Music. This recording was made on a clavichord built by Karl Maendler of Munich, which Bodky brought with him when he came to the U.S.

József Gát
•  Fantasia No. 2 in C Major, Wq. 59/6 — C.P.E. Bach
•  Sonata in B-flat Major, Wq. 59/3 — C.P.E. Bach
Allegro un poco
Largo
Gracioso


József Gát was born into a Jewish family in Hungary in 1913. He studied at the Academy of Music in Budapest in the 1930s. Among his teachers were Béla Bartók and Zoltán Kodály. He earned credentials in both composition and music teaching. In 1938 he received his final degree. By the time he graduated, Jewish legislation was in place that made it impossible for him to find suitable work. During World War II he went into hiding. Some 34 members of his extended family, including his parents and his first wife, died in concentration camps during World War II. After the war Gát taught the piano. In 1949 he was offered a position at the Academy of Music, by then renamed the Ferenc Liszt Academy of Music. (This is the same academy where Miklós Spányi studied in the 1980s.) In 1954 Gát published a book on piano playing that was later translated into four languages. In the 1950s he became interested in early instruments and was given a harpsichord and clavichords by the Neupert and Ammer firms. As a result he was able to introduce these instruments into Hungarian teaching and musical life. He died of a heart attack in 1967 at the age of 54. The tracks that are posted here come from a Qualiton long-playing record of works in the Kenner & Liebhaber series by C.P.E. Bach. [Thanks to Eszter Fontana, daughter of József Gát, for much of this information.]