That the clavichord is a nearly forgotten instrument is quite unjust. It served its role very comprehensively for many centuries, and many of its advantages could not be taken up by newer kinds of keyboard instruments, nor could they be replaced in any commensurate way,
let alone be surpassed. The main reason why pianos and later harmoniums definitively displaced clavichords from people’s homes and salons during the nineteenth century was the general requirement of a louder sound, although a part may have also been played by the newer types of musical instruments being easier to play.

80 pages, format 170 x 230, colour photos
Recommended recording Jaroslav Tůma: A Portrait of the Clavichord F10241
 

The Visual Language of ECM
Edited by Lars Müller

18,5 x 26 cm, 448 pages
ca. 1300 illustrations, softcover

For English edition of the book see please Jaroslav Tůma: The Clavichord - A Nearly Forgotten Instrument (AM005)

For English edition of the book see please Jaroslav Tůma: On selected organ compositions by Petr Eben (AM003)

When composers die, there is usually a certain decline of interest in their musical legacy. In my opinion, Eben’s organ music has a chance to be among the works that will retain a stable position in the repertoire of organists not only in this country, but also abroad. So far, they have been finding their way back into the limelight with intermittent success. Sunday Music, Laudes, and Toccata Fugue are among the pieces frequently chosen by certain ambitious performers regardless of their nationality. Many also regard these works as milestones of organ music of the latter half of the twentieth century. Through this publication about interpretation, my goal was to introduce and explain Eben’s music as having a timeless message and also as belonging comfortably to the traditions of European organ culture.

Recommended recording Petr Eben: Organ Music F10233