A variety of keyboard instruments enjoyed significant popularity in the 18th century. Beside the smaller spinets and the clavichords built for sensitive performances, as well as the fortepiano, which become an ever bigger popular success from the second half of the century onward, and if we disregard the organ with its need for large ecclesiastical or theatrical spaces, the real hero of the era was the harpsichord.
This was partly because, like the organ, the harpsichord was able to fulfil a dual role: it was just as suited to playing the continuo, which provided the harmonic foundation of chamber music and orchestral pieces, as it was to virtuosic solo performances. In addition to Pachelbel’s chorale preludes written for the organ, Bach’s Vivaldi transcripts are not only great representations of the latter of the above roles but the results of a highly interesting experiment as well. This is due to the fact that the German master, being a keyboard virtuoso himself, cared deeply about finding a way to elevate the harpsichord from a continuo instrument to one capable of filling the solo role in an orchestral setting, for which Vivaldi’s violin compositions proved to be interesting study pieces. Bach transformed them into concert versions of themselves written for the harpsichord in a way that maintained the original dialogue-based structure of the orchestral and soloist materials, entrusting the entire process to a single performer. In addition to these unique compositions, the versatility of the harpsichord is proven by Haydn’s 1770 keyboard sonatas, which audiences will also have a chance to listen to as part of the programme, and which were advertised as works of art suited to the modern fortepiano as evidenced by the title pages of the contemporary printed sheet music; however, they were still composed with the old and proven instrument in mind.
