The Well-Tempered Clavier is the generally accepted English translation of the German title, Das Wohltemperierte Clavier, Bach’s great collection of 48 paired preludes and fugues, often referred to as simply `The 48’. It is the best known of Bach’s clavier works. Part 1 of The Well-Tempered Clavier was completed at Köthen in 1722, and Part 2 in Leipzig around 1740. Each part consists of twenty-four preludes and fugues, one prelude and one fugue in each of the twelve major and minor keys, the keys being arranged in chromatic order, alternating in major and minor keys. • The term well-tempered refers to the then novel system of equal (or almost equal) temperament, in which the octave is divided into 12 equal (or almost equal) semitones, and the tuning is such that the transposition is possible without altering the ratio of frequencies for different intervals. In the meantone tuning, on the other hand, which was common until then and still in parallel use, keys are more out of tune the further apart they are from C major. This system made it possible to play equally well in all the keys, and Bach’s collection of The Well-Tempered Clavier was the first complete realization and his achievement the apotheosis of even-tempered tuning. • Hans von Bülow called Das wohltemperierte Klavier the „Old Testament“ of piano literature, it is unlike any other work in the history of music, opening up entirely new territories for both performance and composition, casting its spell for centuries to come. • Wolfgang Rübsam is internationally known as an authoritative Bach interpreter, from recordings of the organ and harpsichord on several different labels. This new recording is played on a lute-harpsichord, an instrument that Bach would have had at home for both music-making in the family and for teaching. The touch required and the sonority produced is delicate, subtly shaded and closely related in its effect to the music of Bach’s French contemporaries, whose music he knew well, such as François Couperin, Jean Philippe Rameau and Louis Marchand. The sound is warmer, as it has gut strings and no dampers. • “These lovely performances memorably showcase Rübsam’s sensitive and poetic side. Recommended. Performance: 9” wrote Jed Distler of Classicstoday.com about the earlier issue of Rübsam’s recording of Bach’s French Suites