Credits and Appreciation

In the end, all presentations are collaborative. We at earsense could never have created our presentation of Bach's Well-Tempered Clavier - 48 Jewels - without the profound assistance of other important resources from other creative minds. We are indebted to all of the following for their explicit or implicit contributions in the form of intellectual and academic might, passionate appreciation, reusable creations, moral encouragement and the simple fact of sharing in a community of attentive hearts and minds that perpetuate the profound presence of Bach's vital art in our culture. If earsense serves to teach and inspire, it is because we at earsense have had the good fortune of finding our own inspired teachers. Thank you one and all.

To Roy Chiristiansen for his Musical Heritage Society membership that brought my first recording of the Well-Tempered Clavier to our house.

To Eric Altschuler for his brilliant book and the fundamental inspiration to make a go of it ourselves. In vivid contrast to the sometimes dry and daunting traditional appreciation of the Well-Tempered Clavier, Altschuler has created a joyful celebration in every day terms, teaching us that the fundamentally accessible music of Bach is open to everyone with the patience to listen. And Altschuler secretly teaches a great deal in the guise of a fresh, engaging and entertaining experience. What a guy!

To Siglind Bruhn, for her masterful technical treatise on the Well-Tempered Clavier, an intellectual tour de force by several standards. Her comprehensive analysis with its unswerving attention to every detail for every composition (all 48 fugues and all 48 preludes) provides a stunning and frankly infinite reference. Her consistent, concise format along with her excellent use of powerful visual representations make Bruhn's four-volume set an educational resource of the highest order: Very few resources in any field have such utility, completeness, richness or elegance. We are inexpressibly grateful to Siglind Bruhn for allowing earsense to use her marvelous diagrams: their presence completes a dream of presenting Bach in multiple dimensions.

To Yo Tomita for making a complete set of MIDI files for all the preludes and fugues in the Well-Tempered Clavier and graciously allowing earsense to use them. Their reality equips earsense with the dimension of sound, in the end, the only essential dimension of the musical experience. Without some reasonable form of actual, complete music, a presentation of Bach's Well-Tempered Clavier is, well, mute. Tomita's own web page, presenting the MIDI files in a complete and organized table was a crucial early inspiration for the presentation at earsense. That he had crafted efficient, playable digital representations of Bach enabled earsense to sing as well as speak. His achievements must have been the result of long and arduous effort, comparable, in a unique medium, to that of Bruhn, Altschuler and earsense.

And, finally, to Bach: for the infinity of riches in your music, speaking to the heart and mind with equal, profound measure. After more than 250 years, your music is as essential and as vital as it surely was within your own heart and mind, as it is in a singular fashion within the long tradition of Western Art Music. If you could only see the reverberations your artistry has generated and keeps generating. Thank you for your living example of the lofty achievements that are possible, that you have indeed made actual.

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