Here is a new sound for the Bach repertory. The clavichord has generally been relegated to a back seat for Bach performance, even in the world of early music. Now at last, here is a recorded series that will present all the major keyboard works of J.S. Bach in virtuosic performances on the clavichord, using superb reproductions by Ronald Haas of period instruments. (The harpsichord-specific works--the Italian Concerto, French Overture, and Goldberg Variations--will be recorded on the harpsichord.) The player is Richard Troeger, noted clavichordist, harpsichordist, and fortepianist. Vol. 1 of the series, just released, is a 2-CD set presenting the 6 Partitas in their clavichord debut, revealing new clarity, brilliance, nuances, and colors. The clavichord, a supremely clear, expressive, and colorful instrument, was fundamental to keyboard players in Bach's time. With the clarity of the harpsichord and the dynamic variation of the piano, the clavichord was rightly regarded as the most versatile and colorful of keyboard instruments. Now it can be heard again in repertory that has rarely if ever been played on it since the eighteenth century. Richard Troeger is a keyboard master whose Bach interpretations are among the finest ever recorded.|
Richard Troeger performs on the clavichord, harpsichord and fortepiano and in duo-keyboard recitals with his wife, organist and harpsichordist Paulette Grundeen. He has been heard as a performer and lecturer throughout North America. Recitals have included appearances for the American Musical Instrument Society, American Guild of Organists, Boston Clavichord Society, Royal College of Organists, Southeastern Historical Keyboard Society, Midwestern Historical Keyboard Society, concerts on university, early-music, and museum series, and numerous radio appearances, including many performances on the Canadian Broadcasting Corporation's ARTS NATIONAL. Born in California, he has played and studied the early keyboard instruments and their literature since the age of twelve. His teachers include Anthony Newman, Marie Zorn, Hugh McLean, and Thomas Binkley. He holds degrees in Performance and Musicology from Indiana University and completed a Doctorate in Early Music there. His publications include numerous articles and the book Technique & Interpretation on the Harpsichord & Clavichord (Indiana University Press, 1987). He was invited to write the articles on harpsichord and clavichord playing, among others, for the Garland Encyclopedia of Keyboard Instruments. Dr. Troeger is the current President of the Boston Clavichord Society. He has taught at The King's College, Edmonton, and the University of Alberta. He has been harpsichordist for Musique Chantante and the Kensington Sinfonia of Calgary, as well as performing with Toronto's Tafelmusik. He now lives in the Boston area, where he is completing a recording project for Lyrichord Discs that embraces all the major keyboard works of J.S. Bach, and is writing a book on the performance of Bach's music. In preparation also is a book on Baroque and Classical instrumental articulation (undertaken as a Canada Research Fellow) and a study of the French unmeasured prelude.