E-book

About this book 

Why a book and not a booklet? 

At some point, rather early, I started to write some text in what You- 

Tube calls the ‘description box’. It is the perfect spot to give a brief 

summary of the video, and in the case of my channel, it makes sense 

to give some background information on the composition that I played. 

Soon however, I started to improvise a bit with texts that reflected 

some more personal aspects of the performance (my view), or gave 

just a reflection of what crossed my mind in that moment of writing. 

People responded to those texts in a way that there was no escaping 

from which led to doing it with every music recording. Soon I started 

to write some kind of fiction with silly phone calls by Mozart or weird 

visits from Clementi. I enjoy writing almost as much as I do playing 

music, and so, many of those moments of writing are amongst the 

best memories I have on the channel. 

And so... almost 100 blog texts, some of them almost 2 pages...just 

leave them out? 

And moreover: there would be no other way to present you with an index 

of all 100 music recordings as well as over seventy relevant spoken 

videos! So, one of the key aspects of this book is to present you 

with a searchable index of the videos I have created. As many thanks 

as we have for the digital revolution, making a hard copy available was 

high on my priority list. An e-book is great, but a real book is better... 

at the minimum: more relaxing to read (I think). 

As for the use of the English language: the introduction is corrected 

by David Rodgers, American piano builder and restorer. The blogs remained 

unchanged from their appearances on YouTube, some spelling 

corrections aside. So, all of them are written in the hyper-modern 

Euro speak English that came directly off my pen. I hope you don’t 

mind. It is an aspect that is intertwined with this channel. Perhaps, 

someday, “Google” will provide the world with a modern version of 

the Star Trek “Universal Translator”, with perfect, real-time translations 

in any language. Imagine that: wearing an advanced version of 

the Google glass, that transmits and translates in the most fluent and 

6 Your Selection - The Book

correct way what one person is saying to another. THAT would make 

the world small at once! And Star Trek old fashioned :-) . 

What I would say if this were a video 

If this introduction were a video I would close it as follows: 

“So, that was it for today. I hope you enjoyed the idea of having a 

book like this to go along with the celebration CD’s, and I certainly do 

hope you will enjoy reading it and listening to the recordings, whether 

it is your first time or whether you are returning to some recordings 

you already know. And to really close this introduction, I hope from the 

bottom of my heart that this will bring the clavichord closer to you all 

and that your souls will be sprinkled with uncountable drops of deep 

musical beauty and artful emotion. 

I thank you all for watching – reading, please don’t forget to subscribe 

to our channel and share this with all your friends –important for You- 

Tube’s algorithms and... we’ll see each other very soon again. Bye !” 

Your Selection - The Book 

7

Contents 

What people say ..................................................................................... 4 

About this book ...................................................................................... 6 

Why a book and not a booklet? ......................................................... 6 

What I would say if this were a video ............................................... 7 

On the accompanying CD’s and the selection. ................................. 19 

The Story of Authentic Sound ............................................................. 23 

A bright moon ................................................................................... 23 

What’s in a name : Authentic Sound ............................................... 25 

Evolution of the channel ................................................................. .28 

The queen of this project: my Clavichord ...................................... 29 

The type of clavichord I play ............................................................ 31 

About the clavichord in the 18th century ....................................... 31 

THE 100 RECORDINGS 

1. Johann Sebastian Bach 

PRELUDE & FUGUE IN F MAJOR BWV 880 (WK II) ................................. 36 


PRELUDE & FUGUE IN F MAJOR BWV 882 (WK II) ................................ 38 

3. Ludwig van Beethoven 

SONATA IN E FLAT MAJOR OPUS 27/1 .................................................. 39 


CHROMATIC FANTASY & FUGUE BWV 903 ........................................... 41 

5. Wolfgang Amadeus Mozart 

SONATA IN A MINOR KV 310 .................................................................. 43 


SONATA IN C MAJOR KV 279 ................................................................. 45 


PRELUDE & FUGUE IN C MAJOR, BWV 870 (WK II) ............................. 47 

8. Muzio Clementi 

SONATA F SHARP MINOR OPUS 26/2 ................................................... 48 


9. Joseph Haydn 

FANTASY IN C MAJOR HOB. XVII/4 ........................................................ 50 


SONATA OPUS 10/2 IN F-MAJOR .......................................................... 51 


PRELUDE & FUGUE IN C MAJOR, BWV 846 (WK I) ................................ 53 


ENGLISH SUITE N°3 IN G MINOR BWV 808 ........................................... 55 


SONATA IN A MAJOR KV 331 ................................................................. 58 

13A. Wolfgang Amadeus Mozart 

RONDO ALLA TURCA (TURKISH MARCH) KV 331 ................................. 60 


SONATA N°54 IN G MAJOR (HOB. XVI/40) ............................................. 62 


VARIATIONS G-MAJOR V 455 (GLUCK) .................................................. 64 


SONATA IN F MAJOR KV 280 ................................................................. 66 


SONATA A MAJOR OPUS 17 N°5 ........................................................... 68 


PRELUDE & FUGUE IN C# MAJOR BWV 848 (WK I) ............................... 70 


SONATA PATHETIQUE OPUS 13 ............................................................. 71 


VARIATIONS C-MAJOR “AH VOUS DIRAI-JE MAMAN” KV 265 .............. 75 

21. Live Concert, Peer Deusterconcerten .......................................... 77 

22. Live Concert at Castle Le Paige Herentals .................................. 79 

23. Jacques van Oortmerssen & Wim Winters 

LIVE AT ‘T WOUDT (FULL CONCERT, 85 MINUTES) ............................... 82 


DUETTO’S BWV 802/5 ............................................................................ 84 

25XA. Frédéric Chopin 

BALLADE N°4 IN F-MINOR OPUS 52 ..................................................... 86 


9


‘O GOTT DU FROMMER GOTT’ BWV 767 .............................................. 88 

26. Georg Friederich Händel 

SUITE D-MINOR HWV 437 ..................................................................... 90 

26A. Georg Friederich Händel 

SARABANDE HWV 437 ........................................................................... 92 


PRELUDE AND FUGUE IN E FLAT MINOR BWV 853 (WKI) ..................... 93 


PRELUDE & FUGUE IN C MINOR BWV 847 (WKI) .................................. 95 


PRELUDE AND FUGUE KV 394 .............................................................. 97 


PARTITA N°2 BWV 826 ........................................................................... 99 


SONATA N°47 HOB XVI/32 ................................................................... 102 


PRELUDE & FUGUE IN E MAJOR BWV 878 (WK II) .............................. 105 


SONATA F MAJOR N°44 IN HOB. XVI/29 .............................................. 107 


SONATA IN B FLAT MAJOR KV 281 ...................................................... 110 


SONATA IN BB MAJOR OPUS 22 ........................................................ 113 


PARTITA N°3 BWV 827 ......................................................................... 116 


SONATA N°36 IN C MAJOR HOB XVI/21 .............................................. 119 


PRELUDE & FUGUE IN F MINORBWV 857 (WK I) ................................ 122 


SONATA N°16 IN C MAJOR KV 545 ...................................................... 124 


PRELUDE & FUGUE IN BB MINOR BWV 867 (WK I) ............................ 128 



SONATA N°53 IN E MINOR HOB XVI/34 ............................................... 130 


SONATA N° 55 IN B FLAT MAJOR HOB. XVI/41.................................... 133 


ADAGIO KV 540 ................................................................................... 135 


PRELUDE & FUGUE IN D MAJOR BWV 850 (WK I) .............................. 137 


SONATA N°38 IN F MAJOR HOB 16/23 ................................................ 140 

46. Kostas Papazafeiropoulos 

SONATA (2010) IN C MINOR (WORLD PREMIERE) ............................... 143 


SONATA OPUS 2/2 IN A MAJOR (1782) ............................................... 147 

48. WOLFGANG AMADEUS MOZART 

SONATA N°15 IN F MAJOR KV 533/494 ............................................... 150 


PRELUDE & FUGUE IN AB MAJOR BWV 862 (WK I) ............................ 153 


SONATA N°37 IN E MAJOR HOB. XVI/22 .............................................. 156 

51. Pietro Domenico Paradies 

SONATA IN A MAJOR .......................................................................... 158 


SONATA OPUS 14 N°3 IN F MINOR ..................................................... 161 

53. Franz Schubert 

ERLKÖNIG (SOLO) ............................................................................... 164 


RONDO IN A MINOR (2015) (WORLD PREMIERE) ................................ 167 


VARIATIONS F MAJOR KV 398 ............................................................ 170 

56. Franz Schubert 

GRETCHEN AM SPINNRADE (SOLO) .................................................. 173 


PRELUDE & FUGUE IN F MAJOR BWV 856 (WKI) ................................ 176 


11

58. Franz Liszt 

JEUX D’ EAU A LA VILLA D’ ESTE ........................................................ 179 


SONATA IN A FLAT MAJOR HOB XVI/46 ............................................... 182 


SONATA OPUS 2 N°1 IN F MINOR ....................................................... 185 


SONATA IN B FLAT MAJOR KV 333 ...................................................... 189 


SONATA IN C MAJOR OP. 2 N°1 (1781) ............................................... 192 

63. Johann Baptist Cramer 

ETUDES (1) PLAYED FROM BEETHOVEN’S COPY .............................. 196 


INVENTIONS N°1-3 BWV 772-775 ........................................................ 199 










SONATA IN G DUR (2015) .................................................................... 214 


INVENTIONS N°10-12 BWV 782-784 .................................................... 217 


INVENTIONS N°13-15 BWV 785-787 .................................................... 220 


PARTITA N°5, BWV 829 ........................................................................ 223 



74. Carl Czerny 

PRELUDE & FUGUE IN G MAJOR (OPUS 822) .................................... 228 


75. Carl Czerny 

PRELUDE AND FUGUE IN F#MINOR OPUS 822................................... 231 


SECHS DEUTSCHE TÄNZE KV509 ...................................................... 234 


NOTEBOOK KV 15 (SELECTION) KLAVIERSTUCK IN F MAJOR, KV 33B ... 236 

X3. Louis Vierne 

SYMPHONY N°6, OPUS 59 ................................................................. 239 


SONATA N°5 IN G MAJOR KV 283 ...................................................... 242 


PARTITA N°4 BWV 828 ......................................................................... 245 




SONATE IN F MAJOR (2016) ................................................................. 250 


PARTITA N°I BWV 825 .......................................................................... 253 


FUGUE IN C MAJOR (GRAD.AD PARNASSUM) ................................... 256 

83. Dietrich Buxtehude 

SUITE IN E MINOR BUXWV 236 ............................................................ 258 

84. Carl Philipp Emanuel Bach 

ABSCHIED VON MEINEM SILBERMANNISCHEN CLAVIERE ............... 261 

85. Domenico Scarlatti 

SONATA K141 ...................................................................................... 264 

86. D.E.Von Grotthuss 

FREUDE ÜBER DEM EMPFANG DES SILBERM.CLAVIERS .................. 268 


SONATA OP. 87 (2011) ......................................................................... 272 

88. Carl Philipp Emanuel Bach 

WÜRTTEMBERG SONATA I WQ 49/1 ................................................... 276 


13


PARTITA VI BWV 830 ........................................................................... 279 

90. Johann Christian Bach 

SONATA IN C MINOR OP.17/2 ............................................................. 282 

91. Kostas Papazafeiropoulos (2016) 

VARIATIONS ON W.A. MOZART, DER 

VOGELFÄNGER / THE BIRD CATCHER ................................................ 285 

92. Johann Pachelbel 

CIACONNA IN F MINOR ....................................................................... 288 


SONATA OPUS 53 (WALDSTEIN) ......................................................... 291 


ARIA SECUNDA ................................................................................... 294 


SONATA IN G MINOR, HOB XVI/44 ....................................................... 297 


PRELUDE & FUGUE IN E MAJOR BWV 854 (WKI) ................................ 300 

X4. Michael Anton (°2001) 

SONATA IN B FLAT MAJOR (2016) ....................................................... 303 


ARIA SEBALDINA EVELIEN DANCE ..................................................... 306 


SONATA OP. 113 (2015) ....................................................................... 309 


PRELUDE & FUGUE IN E MAJOR (2) BWV 854 (WKI) ........................... 312 


PRELUDE AND FUGUE IN B MINOR BWV 869 ..................................... 314 

To talk or to only play? ....................................................................... 317 

To be a musicologist or not? ............................................................. 318 

The series ............................................................................................ 320 

MORE ABOUT MUSIC 

1. PRACTISING BACH’S SINFONIAS WITH YOU (PART 7)! ....................322 



3. A COMPOSER WORKING AT MY CLAVICHORD ! ...............................322 


5. TO OVERDOT OR NOT? :: J.S.BACH PARTITA 2, 

SINFONIA :: DOUBTS & DECISIONS (3) ............................................. 323 

6. PRACTISING BACH’S SINFONIAS TOGETHER WITH YOU(4) ! .........323 

7. PRACTICING BACH’S SINFONIAS WITH YOU (3) ! .............................324 

8. 3 CLAVICHORDS :: 3 SOUNDS ! ...........................................................324 

9. SOME SERIOUSLY UNDOCUMENTED THOUGHTS 

ON INSTRUMENT CHOICE (AMONG OTHER THINGS) ..........................324 

10. PRACTICING BACH’S SINFONIAS WITH YOU ! :: PART 2 ...............325 

11. C.P.E.BACH WOULD EMBRACE SOCIAL MEDIA ! ............................325 

12. PRACTICING BACH’S SINFONIAS WITH YOU ! :: PART 1 ...............325 

13. J.S.BACH’S E MAJOR FUGUE (WKI): A TRICKY ONE TO PLAY :: 

AFTERTHOUGHTS ..................................................................................................326 

14. C.P.E.BACH :: A REMARKABLE POST SCRIPTUM IN MUSIC ! .......326 

15. MOST NOBLE EXPRESSION OF MELANCHOLY :: THOUGHTS 

ON HAYDN’S G MINOR SONATA (PART 2) ........................................326 

16. HAYDN :: SONATA IN G MINOR :: MY THOUGHTS (PART 1) ............327 

17. THE LETTERS OF C.P.E.BACH :: ED. CLARK :: BOOK REVIEW ......327 

18. MAIN OR UPPER NOTE TRILLS? :: AFTERTHOUGHTS ON 

J. PACHELBEL :: ARIA SECUNDA .............................................................327 

19. MY CLAVICHORD’S CATHEDRAL: SYMPATHETIC 

STRINGS: Q&A YOUR TIME .......................................................................328 

20. DOUBTS & DECISIONS : JSBACH PARTITA 2 (2) : “CAPRICCIO” ...328 

21. BEETHOVEN WALDSTEIN :: NOTATION AND CHANGES :: 

AFTERTHOUGHTS (2) ON MY RECORDING ...............................................328 

22. FINALLY: THE EDGE OF MY CLAVICHORD : BEETHOVEN 

WALDSTEIN :: AFTERTHOUGHTS (1) .......................................................329 

23. MY CLAVICHORD IN A NUTSHELL :: Q&A YOUR TIME .............. 329 

24. AFTERTHOUGHTS ON J. PACHELBEL :: CIACONA IN F MINOR ...329 

25. DOUBTS & DECISIONS : JSBACH PARTITA 2 : 


15

“FUGUE-INVENTION” ..............................................................................330 

26. THE “BEBUNG” ON CLAVICHORD: A PERSONAL 

VIEW:: Q&A EP. 9 .................................................................................. 330 

27. CHRISTIAN BACH COMPARED TO A VERY FAMOUS PIECE OF 

MUSIC :: AFTERTHOUGHTS ............................................................... 330 

28. TWO BOOKS I’D RECOMMEND :: CPEBACH AND 

TÜRK :: Q&A - YOUR TIME :: EP .8 ............................................................331 

29. Q&A :: EP.7 ::PITCH OF MY CLAVICHORD .........................................331 

30. AFTERTHOUGHTS ON CPEBACH :: WÜRTTEMBERG 

SONATA I WQ 49/1 .....................................................................................331 

31. YOUR TIME :: Q&A :: EP.5 :: BEETHOVEN OP.2/1 

ALLEGROOR PRESTO? .............................................................................332 

32. AFTERTHOUGHTS ON GROTTHUSS: RONDO C MAJOR ..............332 

33. AFTERTHOUGHTS ON KOSTAS’ SONATA OPUS 87 (2011) ............332 

34. OUR VISIT TO RECORD INDUSTRY, ONE OF WORLD’S 

LARGEST VINYL PRESSING PLANTS ! ....................................................................333 

35. YOUR TIME :: Q&A :: EP.3: MY EARLY MUSIC ‘INFLUENCERS’. .....333 

36. THE MAKING OF SCARLATTI, OR : THE WOMAN BEHIND IT ALL. .....333 

37. AFTERTHOUGHTS ON SCARLATTI :: SONATA K141 .......................334 

38. IT MUST HAVE HURT...LIVE ON C.PH.E.BACH’S 

“ABSCHIED - FAREWELL” (SESSION 2016.05.25, 9PM) ........................334 

39. “HIS CLAVICHORD TOOK FORTISSIMOS THAT WOULD 

DESTROY ANOTHER INSTRUMENT...”:: ON CPEBACH ........................334 

40. AFTERTHOUGHTS ON MY RECORDING OF CLEMENTI’S 

FUGUE IN C MAJOR ...................................................................................335 

41. AFTERTHOUGHTS ON MY RECORDING OF BACH’S 

PARTITA I BWV 825 ON CLAVICHORD .....................................................335 

42. AFTERTHOUGHTS: BENIFITS OF TALKING TO A 

LIVING COMPOSER ! ..................................................................................335 

43. AFTERTHOUGHTS ON MY RECORDING OF 

CRAMER’S ETUDES (PART 5) ..................................................................336 

44. AFTERTHOUGHTS ON MY RECORDING OF 


BACH’S PARTITA N°4 BWV 828 .................................................................336 

45. AFTERTHOUGHTS ON MOZART: SONATA N°5 

IN G MAJOR, KV 283 ..................................................................................336 

46. THE ORGAN : A GUIDED TOUR ! .......................................................337 

47. AFTERTHOUGHTS ON MOZART’S “SECHS DEUTSCHE 

TÄNZE” KV509 ..................................................................................... 337 

48. AFTERHTOUGTHS ON MY RECORDING OF MOZART 

KV 15 AND KV33 .........................................................................................337 

49. IDEAS ON CZERNY: PRELUDE AND FUGUE IN F#MINOR 

(AFTERTHOUGHTS) ....................................................................................338 

50. AFTERTHOUGHTS ON CZERNY PRELUDE AND FUGUE 

IN G MAJOR .................................................................................................338 

51. MOZART - CLEMENTI: TWO GIANTS MEET: CHRISTMAS 

EVE 1781. A PERSONAL VIEW ..................................................................338 

52. AFTERTHOUGHTS ON BACH’S PARTITA N°V, BWV 829 ................339 

53. WHAT’S THE THING ABOUT A NEW MOZART OR NOT? 

AFTERTHOUGHTS ON KOSTAS PAPAZAFEIROPOULOS’ 

SONATA IN G. ...................................................................................... 339 

54. BACH’S INVENTIONS OR THE ULTIMATE POLYPHONIC FEEL (5): 

AFTERTHOUGHTS ...................................................................................................339 

55. BACH’S INVENTIONS OR THE ULTIMATE POLYPHONIC 

FEEL (4): AFTERTHOUGHTS ......................................................................340 

56. BACH’S INVENTIONS OR THE ULTIMATE POLYPHONIC 

FEEL (3): AFTERTHOUGHTS ......................................................................340 

57. AFTERTHOUGTHS (PT 3) ON CRAMERS ETUDES ...........................340 

58. AFTERTHOUGHTS ON EARLY RUBATO... AND MUCH 

MORE: CRAMER ETUDES, PART 4 ...........................................................341 

59. REFLECTIONS (2) ON BACH’S INVENTIONS: AFTERTHOUGHTS ....341 

60. AFTERTHOUGHTS (2) ON CRAMERS ETUDES.................................341 

61. REFLECTIONS ON BACH’S INVENTIONS (1): AFTERTHOUGHTS ....342 

62. REFLECTIONS ON CRAMER’S ETUDES ON 

CLAVICHORD (PART 1) ...............................................................................342 


17

63. AFTERTHOUGHTS ON CLEMENTI SONATA IN C MAJOR, 

OPUS 2 N°1 (1781) ......................................................................................342 

64. AFTERTHOUGHTS ON MOZART’S SONATA IN B FLAT 

MAJOR, KV 333 ...........................................................................................343 

65. BEETHOVEN OP. 2/1, WHAT ABOUT THE B FLAT 

IN BAR 15...? AND MORE. ..........................................................................343 

66. LET THERE BE SOUND !! PHILIP NEWELL, THE INTERVIEW. ........343 

67. TALKING ABOUT TRILLS, METRICAL MOVEMENT, AND 

OTHER ASPECTS OF THIS WONDERFUL HAYDN SONATA ..................344 

68. AFTERTHOUGHTS ON BACH’S PRELUDE AND FUGUE 

IN F MAJOR (WKI) .......................................................................................344 

69. AFTERTOUGHTS ON MY RECORDING OF SCHUBERT’S 

GRETCHEN AM SPINNRADE.............................................................. 344 

70. AFTERTHOUGHTS ON MOZART VARIATIONS IN 

F MAJOR KV 398 .........................................................................................345 

71. AFTERTHOUGHTS ON COSTAS PAPAZAFEIROPOULOS 

RONDO IN A MINOR ...................................................................................345 

72. AFTERTHOUGHTS: SEARCHING THE LIMITS WITH SCHUBERT ......345 

73. AFTERTHOUGHTS: CLEMENTI ‘WHISPERED’ TO 

BEETHOVEN... AND MORE ........................................................................346 

74. AFTERTHOUGHTS ON PARADIES’ SONATA IN A MAJOR ...............346 

75. AFTERTHOUGHTS ON HAYDN’S SONATA N°37 IN E MAJOR ........346 

76. AFTERTHOUGHTS ON BACH’S PR&F IN AB MAJOR (WKI) ............347 

Future plans ......................................................................................... 348 

Recording label ............................................................................... 349 

Vinyl project ..................................................................................... 349 

Series CPEBach in pieces etc ........................................................ 349 

Scores ............................................................................................. 350 

Pianoforte project ........................................................................... 350 

Building of the studio ...................................................................... 351 

Authentic Sound Radio ................................................................... 352 

Patreon ............................................................................................ 353 

A thank you ......................................................................................... 354 

Special thanks to: ................................................................................ 355 


On the accompanying CD’s and the selection 

This book is published both as 

E-book and hard copy along with 

the release of three CD’s containing 

a selection of the 100 music recordings 

I’ve made for the Authentic 

Sound YouTube channel between 

February 2014 and November 2016. 

The selection is made by the community 

that surrounds Authentic Sound, 

hence it’s title: Your Selection. 

Since these CD’s feature a selection from the 100 recordings made in 

the past two years, you will notice differences in sound because of different 

setups, different recording equipment, and even different rooms. 

All recordings though, have in common, that they have been made 

with a stereo setup with no additional reverb. Even the reverb you’ll 

hear in the recording of Beethoven’s Pathetique is pure and alone the 

natural reflection of that impressive 18th Imperial Hall in Sint-Truiden 

(B), where this piece was recorded. 

The equipment we used for the first recordings was very basic, but 

served its purpose well: 

❯ 2 Mic AKG C-3000 

❯ 1 Tascam field recorder 

❯ Camera : Fuji X-Pro 1 

Today, recordings are made with: 

❯ 2 Mic Neumann TML-170 

❯ Presonus ADL 600 Preamp (Tube, Dual Mono) 

❯ Benchmark ADC1 

❯ Benchmark DAC1 HDR 

❯ Samplitude Pro as editing software 

❯ Current cameras : 2x Panasonic Lumix Lx100 


19

As for the last 6 months, (almost) all recordings are recorded on a fully 

restored STUDER A80r Tape recorder and afterwards digitised. What 

a tape recorder of that quality does with the sound of a recording is 

impossible to describe accurately. Even compared to a high quality 

AD convertor as our Benchmark is, set in High Res, the sound opens 

and clarifies in a way you should experience if you had the chance. 

Even after being converted to digital, a good part of that initial sound 

is to be heard. And even... on YouTube after who knows how many 

conversions and down samplings. At least five people sent me a message 

after releasing the first so called ADD recording online, to ask 

what I did with the sound (Clementi’s G Major Prelude and Fugue, 

included on the CD’s). 

All tracks on the CD are the unaltered version of their counterparts on 

YouTube. Of course, contrary to the sound quality on YouTube, you’ll 

hear those recordings through their original WAV (CD quality) sound. 

Here is the index of the CD’s: 


CD 1 

1-4 Dietrich Buxtehude (1637-1707) :: Suite in E minor, BuxWV 236 

Allemande – Courant- Saraband- Gigue 

5 Johann Pachelbel (1653-1706):: Ciaconna in F Minor 

6-8 George Friedrich Händel (1685-1759) :: Suite D-Minor HWV 437 

Allemande – Courante – Sarabande 

Johann Sebastian Bach (1685-1750) 

9-11 Invention n°7-9, BWV 778-780 

12-13 Prelude & Fugue in E Major (WTK I), BWV 854 

14-19 Partita in B flat Major, BWV 825 

Praeambulum – Allemande - Courante 

Sarabande – Menuet – Gigue 

20 Carl Philipp Emanuel Bach (1714-1788) 

Abschied von meinem Silbermannischen Claviere 

21-23 Johann Christian Bach (1735-1782) :: Sonata in C Minor Op.17/2 

Allegro – Andante – Prestissimo 

CD 2 

1-3 Joseph Haydn (1732-1809) :: Sonata in A flat Major, Hob. XVI/46 

Allegro Moderato - Adagio - Presto 

4 Wolfgang Amadeus Mozart (1756-1791) :: Variations in F Major, KV 398 

5-7 Muzio Clementi (1752-1838) :: Sonata in F sharp Minor, opus 26/2 

Piu tosto Allegro con Espressione - Lente e pathetic – Presto 

8-9 Joseph Haydn :: Sonata in B flat Major, Hob. XVI/41 

Allegro - Allegro di molto 

10 W.A. Mozart :: Adagio in B Minor, KV 540 

11 W.A. Mozart:: Sechs Deutsche Tänze, KV 509 


21

CD 3 

1-3 Ludwig van Beethoven (1770-1827) :: Sonata Pathetique, opus 13 in C Minor 

Grave - Allegro Molto e con brio - Andante cantabile - Rondo Allegro 

4 Franz Schubert (1797-1828) :: Gretchen Am Spinnrade (klavier solo) 

Johann Baptist Cramer (1771-1851):: Etudes played from Beethoven’s copy 

5 Etude n°16 in F Minor 

6 Etude n°18 in D Minor 

7 Etude n°21 in G Major 

8 Etude n°24 in D Minor 

9-10 Carl Czerny (1791-1857) :: Prelude & Fugue in G Major 

11 Kostas Papazafeiropoulos (1983 - ) :: Rondo in A Minor (2015) 

Dedicated to Wim Winters 

12-15 Kostas Papazafeiropoulos :: Sonate in C Minor, opus 113 (2015) 

Allegro – Adagio - Menuet/Trio - Rondo Allegro 

Dedicated to Constantine P. Carambelas - Sgourdas 

Buy the CD’s on: 

www.authenticsound.be/yourselection 


The Story of Authentic Sound 

A bright moon 

Imagine a late winter night, dark and cold outside, the wind blowing 

through naked threes, their silhouettes drawn black in the bright moon 

light. One man still up, sitting cosily warm inside, all lights switched 

off except one candle light that lights the score on his clavichord. The 

moment we enter the room, he just released the last note of a Bach 

fugue that enhanced the silence as only a clavichord can do. You 

would see that man’s back sag a bit, and if you would be able to read 

his mind, it would tell you thousands of feelings related to that one 

moment, whispering thoughts that would fly in the electrified air of the 

room. One of those thoughts would be the wish to share this moment 

of beauty with others, not so surprisingly for an artist, because isn’t 

that what they essentially do: sharing beauty? 

The date must have been December 11 th 2013. That was the moment 

on which Authentic Sound YouTube channel was born. 

Now, three years later, that channel has become a platform with 100 

clavichord recordings, and 150 spoken videos. Each month, about 

30,000 people find something of interest; maybe even beauty, and it’s 

community (called subscribers in YouTube’s world) of almost 3,000 is 

now growing by an average of 15 a day. 


23

It might be a world far from many classical musicians, or perhaps 

even from you as a classical audience. It was certainly a world very 

far from me when I started on YouTube in February 2014. But take 

away every aspect that potentially could hold you back from these 

new platforms, be it its mass access, its mass use, its overly clear 

commercial aspects, ... and what remains is, in fact, a unique way of 

communicating and reaching out to people. It is hard, I can tell you, it 

requires a lot more than just make some good video’s or some decent 

recordings. It forces you to think more in terms of direct communication, 

conversation, building a community, and much more. But once 

behind that massive wall, there is a world that gives you all access to 

an artist in a way that would have been only a dream fifteen years ago: 

direct, one-on-one contact with his audience. 

In fact, however you might think of communication on social platforms, 

a thank-you sentence in a YouTube comment box, is not so 

different from a person who shakes your hand after a concert. The 

tools are different, but in essence, both are the same. 

The only real difference is the reach. It would be hard, in the niche 

“market” of Historically Informed Performance (HIP), to reach, live, the 

30,000 people my recording of Beethoven’s Pathetique has reached 

on YouTube. Views are not saying everything, but YouTube’s analytics 

tell me that one out of four of three views, actually watch the entire 

recording. That means, that the Pathetique has at least 10,000 complete 

views. Take away the unique cookies, meaning the returning 

listeners, it would be safe to say that at least 3,000 people on this 

planet are familiar with the version of Beethoven’s famous sonata... 

on clavichord. With a channel as small as this still is, and knowing the 

fact that this recording was a very early one, when Authentic Sound 

only had a few hundred subscribers. 3000 is a number that would be 

called a success in the ‘classic’ CD retail world of my niche. 

Of course, both numbers are not to be compared. I did not actually 

sell those recordings. But the new idea of the ‘sharing economy’ forces 

you to think differently: that recording reached that many people. 

You could even say, in much more down to earth marketing terminology: 

I influenced that many people by that recording. 


Recording labels mostly hold firm to known names and repeat the 

same concepts, but see numbers dwindling; which is bad for their annual 

business numbers, but also for the musicians asked to perform 

the same things again and again. Many will have the feeling that there 

simply is no place left for them anymore, and certainly not a possibility 

to make a decent living from what is one of the most demanding and 

difficult professions of all. 

What’s in a name : Authentic Sound 

If you ever have wondered if it is hard to find a name that covers your 

activity or that of your “brand,” I can tell you: it is. It becomes even 

harder when you have finally found a name and then must put it to the 

test to be judged by family and friends... 

Anyway, one thing I wanted to avoid was opening a YouTube channel 

that would have my name. It might sound strange, but I cannot 

see “Wim Winters” as a brand name. Even a YouTube Channel is 

ultimately a Brand Name. “Authentic Sound” was first chosen as a 

name in 2012. It was for a concert I gave at the Exhibition of Instrument 

Makers held at the MA Festival in Bruges (Belgium). I thought 

that the clavichord, as important as this instrument was throughout 

the whole 18th c., could use some extra help in today’s world of HIP; 

still dominated by harpsichords and pianofortes. The term “Sound” 

reflected the sound of my clavichord. 

The word “Authentic” tied into its voice; 

which is authentic in every meaning of 

the word. When thinking about a name 

for a YouTube channel, it was hard to 

come up with an alternative to this. I 

even created a poster for that concert, 

maybe a wee bit provocative, to attract 

attention to the “Queen of 18 th century 

keyboard instruments” in today’s 

noisy world. I share it here with you, not 

completely without embarrassment... 

but : it worked! The beautiful exhibition 

concert room was packed with people. 

Beethoven’s opus 10/3. In 2015 I 

played all Bach partitas -with a different 


25

poster...! - and received a wonderful review in the magazine of the 

British Clavichord Society. I’ll share it here with you (still proud of that!): 

We will take “Authentic Sound” as a brand name for future projects, 

as there will be a recording label, publication of scores, a recording 

studio, and even Authentic Sound Radio is a project that is under 

development for launch within the coming years. 



27

Evolution of the channel 

Looking back on those 

first recordings of February 

2014, I had absolutely no 

idea what I was doing on 

anything, except maybe (I 

hope) the clavichord playing. 

I still lived in the 20 th 

c. mindset that quality always 

finds its way and so 

just uploading a well performed 

recording would 

do the trick. Today, I could 

easily tell that the almost pitch black thumbnail (and video), with no 

explanation, no personal interactions, and no calls to action would 

certainly be completely ignored by YouTube; as it most certainly was. 

I still remember that I was happy when the views went up in one day 

with an average of three, not even knowing if my own clicks causing 

that shift in number or not. You will see those first dark days when you 

start paging through the book: those videos are at the beginning and 

if it were not for a chronological approach, in terms of branding, they 

shouldn’t be at the beginning. Although I still do like those recordings 

to this day! 

If you realise that today –and the numbers wouldn’t be that much less 

impressive back in 2014- YouTube receives more than 600 hours of 

recording every ... minute, it is not hard to understand that our first 

videos were not, in importance, even close to one drop in a vast 

ocean. For one person, it would take up to 60 years (!) to watch the 

content YouTube receives in a day. Yes, in one day... So, there were 

the first two preludes and fugues by Bach, played on clavichord. Not 

on piano, let alone harpsichord. No: clavichord. Even with a million 

potential viewers –remember, there are about 7 billion on this planet, 

and YouTube receives at least 1 billion of them per day (!), those videos 

would barely get a chance to be found, let alone indexed by the 

world’s second largest search engine: YouTube. 


In those early days, views or subscribers (I think I had 8 after a month) 

were only vanity numbers. So, the only element that might have been 

hurt by that was my ego. I surely had not one single thought that this 

YouTube adventure would have the potential to become a possible 

backbone for a business model around my musical life. I did however, 

if only for reasons of ambition, wanted to do things right! So, a 

few dedicated video channels soon became my guidance and source 

of inspiration. This clear commitment one day resulted in a personal 

invitation by YouTube headquarters in Amsterdam for both Anja and 

myself to learn to understand this social platform better. 

The queen of this project: my Clavichord 

I love my clavichord more than I 

can describe in words. There is a 

clear fire escape plan in my head 

in case our house for some reason 

should catch fire. First wake 

Anja, my wife, take the kids outside 

and then immediately go in 

and bring the clavichord outside. 

Just to tell how much it influences 

my daily life. As many beautiful instruments as Joris Potvlieghe has 

built since and before, many of which I have had the privileged to play 

(sometimes even offering them shelter within my home) there is only 

one number 35. Mine. 

Let me tell you first how I got that instrument. It was totally by accident. 

Early 2008, I visited some Belgian organ builders, to prepare 

a first contract with a selection committee for the building of a large 

organ in Contius’ style in Leuven, a project for which I was and still 

am project manager. One of the names on our short list was Joris 

Potvlieghe, someone I had heard about quite a lot, but never met in 

person. So, one Sunday afternoon, I had coffee with him in his beautiful 

19 th c. house, and not long after that, he invited me to come to the 

‘clavichord-room’ and try one of his latest instruments. Of course, I 

politely refused to try it out, as the clavichord was a complete stranger 


29

to me in spite of my eight years of education in Amsterdam. The only 

thing I knew for sure about that instrument was that it had a name of 

being extremely difficult to play upon. So, the last thing I wanted to 

do, was to make a fool out of myself in front of the organ builder Joris 

Potvlieghe. I was visiting as project manager of an important organ 

project! But Joris can be enormously persistent in a way that is hard 

to describe... so five minutes later I played the first bars of a Haydn 

Sonata. That initial contact with the keys of a clavichord changed my 

life forever. On our way home, I looked to Anja and without one word, 

she nodded her head and made a sign to pull the car over. ‘Call him, 

right now’, she said, ‘I know you, you wouldn’t sleep’. 

And what is a man to resist the perseverance of his wife? So, I called. 

And six months later, I played the inauguration concert on my n°35 in 

Sint-Truiden, in the Imperial Hall, the same room where I would record 

Beethoven’s Pathetique five years later 


The type of clavichord I play 

My instrument is an unfretted clavichord, 

built by the.Belgian organ/ 

zclavichord builder Joris Potvlieghe 

in the Saxon style. Joris does make 

copies of historical instruments, but 

his main body of work is not related 

to a specific instrument, but more 

to a general style. In other words: 

he builds instruments as an 18 th 

century builder possibly could have 

done. Perhaps a very “historic” approach 

in itself; in any case similar to the way we, as performers, 

play historic music. We lack the original performances of course, and 

therefore we rely solely upon the score and our interpretation of it. 

Saxony was one of the great areas of German music, much related 

to the Bach family. It is difficult to date this instrument, since so few 

unfretted clavichords of the first half of the 18 th c. are preserved (or 

few were built, I believe it was a costly, elite instrument back then), but 

it is safe to say that the clavichord I own could be dated as a reflection 

of what was available around 1745-1765. 

About the clavichord in the 18 th century 

‘He loved to play the most on clavichord’, 

J.N. Forkel probably quotes 

C.P.E. Bach in what was the first biography 

of J.S. Bach in 1802. Forkel would 

deserve a huge statue in the research 

and preservation on the life and works of 

J.S. Bach. He was close to C.P.E. Bach, 

as the preserved letters of the master 

show. Moreover, based on the cases 

where we can put the original letters of 

C.P.E. Bach next to quotes in Forkel’s biography, he was very truthful 

concerning the information he received. Many details of Bach’s life we 

owe to him and, in general, for the immense musicologist work he did, 

Forkel is considered to be the founder of modern musicology today. 


31

And yet, that one quote, which 

makes such perfect sense to 

those who know and play the 

clavichord, is so often rejected 

with passion. It would take 

too far in this introduction to 

dig deeper into the subject, but 

one point is clear to me, that the 

coming decades will show much more “evidence” (as much as I 

find evidence uninteresting) on the importance of the clavichord 

in the 1st and 2 nd half of the 18 th c. With this one side remark, that 

the clavichord is most related to the German areas. 

So, playing J.S. Bach on clavichord, is not as much an experiment 

as it is a (my) reflection of the daily practice of that time. Today, we 

consider the clavichord “only” as a “study” instrument, to pave the 

way to the harpsichord, but there is no evidence at all that that was 

the case. On the contrary, as C.P.E. Bach points out, a true keyboard 

player can only be recognised when playing on a clavichord. 

The word “study” (Übung), in my opinion, should be connected 

to e.g. terms like J.S. Bach used in his own series of the “Clavier 

Übung”, where the word “Übung” does not mean to study (practice) 

in our modern sense, but an achievement of the highest possible 

skill as a musician. It is in that context, I believe, that the clavichord 

was used, also by J.S. Bach, and probably even pushed for by J.S. 

Bach and it is in that context I use my instrument day in day out. 

Again, there is so little that can be ‘proven’, but the recent and upcoming 

articles of Joris Potvlieghe on J.S. Bach and the clavichord 

(published in Clavichord 

International), 

makes it hard to deny 

what appears to be evident. 

The 18 th c. was 

looking for expression 

in all forms and ways, 

and the perfect keyboard 

instrument to 

achieve that was ... 

the clavichord. 


Fretted until probably the end of the 17 th c., there had to be a determining 

factor to enlarge these instruments to unfretted instruments, 

where each pair of strings only served one key. Tuning had to do a lot 

with it, without doubt, something we could spend some pages on, 

and thus the clavichord was expanded, basically to a new instrument. 

This is meaningful, in a way, as the harpsichord, of course, already 

delivered the free strings needed for contemporary literature; but not 

all aspects maybe the top musician’s of that time were going to. 

This is also true of the later music. Unfretted clavichords were produced 

increasingly in the second half of the 18 th c. For instance, Mozart 

owned several clavichords since his father was one of the main 

sellers of Friederici clavichords (pointed by many -also in history- as 

one of the most important clavichord builders and by the way, much 

related to my type of instrument.) But Beethoven also knew the clavichord 

well. Certainly this is so through his teacher (G. Neefe in Bonn), 

who also was a selling point for Friederici instruments. Haydn even 

ordered a large unfretted clavichord as late as 1794. 

But! This is not said to deny the fact that the world, at that time, 

was moving to a new era; that of the pianoforte. Not so soon as we 

think today. Mozart only acquired his first pianoforte in 1782, so on 

what instruments did he play before? There can be many assumptions 

about the clavichord, as evident as it is, yet it is not often mentioned 

in today’s “main stream” research. But, of course, there still 

was the harpsichord, mostly in use for ‘Starken Musik’- or: orchestral 

music –as C.P.E. Bach writes. But denying that the pianoforte would 

take over the elite performances of the Viennese musical scene, as 

the unfretted clavichord probably did in the early 18 th c. for the likes 

of J.S. Bach, would be the same as denying the sunlight. Certainly, 

Beethoven opens new perspectives in an unbelievable way. Playing 

his first sonatas is like missing one generation both in expression and 

technique from Mozart’s latest works. But still, the classic technique, 

with the closed hand, the firm contact between finger and key and 

the not essential use of the sustaining pedal, are elements that show 

that even Beethoven, up to his Waldstein Sonata was full of signs of 

that 18 th c. tradition. And on a good clavichord, that music works so 

well... visualising the bridge with earlier music of the likes of C.P.E. 

Bach. It just makes so much sense (to me). As it makes sense that a 


33

good clavichord is an extremely difficult task for an instrument builder. 

Not only for the ones we know today, but it must have always been 

the case. J. Adlung, one of the most important sources on instrument 

building, and acquainted with J.S. Bach, wrote in 1726 that even an 

exceptional builder cannot guarantee the outcome of an instrument. 

And that the cheaper instruments are not better than to lit a fire with to 

bake fish upon... This all adds to the mysterious qualities of that seductive 

instrument that, once it has the power of its performer, opens 

a world that sometimes appears to be a new dimension, even a new 

universe. I hope you feel that with me....! 

I can only hope that this beautiful instrument will stay in my life for a 

long time, and that it can serve as a sensitive translator of the beauty 

its player tries to deliver... 


The hundred 

recordings 


35

RECORDING N°1 

Johann Sebastian Bach 

PRELUDE & FUGUE IN F MAJOR BWV 880 (WK II) 

Date: 

01.02.2014 

Timing: 

6:23 

Link: https://youtu.be/CeHYzoy3jDU

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