Harpsichordist Mahan Esfahani has been on a remarkable journey, delving into his artistic expression through the keyboard masterpieces of J.S. Bach, achieving notable accomplishments in Western classical music. Like manny artists,Esfahani has dedicated a notable portion of his life to Bach’s 48 preludes and fugues from the Well-Tempered Clavier. He reflects on this experience as both a formidable challenge and a nostalgic return.

Esfahani brings his unique perspective to thes compositions, offering fresh interpretations in their performance and presentation.He describes them as “theatrical masterpieces,” imbuing each prelude and fugue with its own distinct dramatic character. The harpsichord he plays is an intricate modern replica of an early 18th-century two-manual instrument that is believed to have been used by Bach himself. This instrument is finely tuned to produce specific tonal qualities for each note played. As Esfahani points out, the term “well-tempered” signifies more then just equal temperament; it underscores how precise tuning can be tailored for various major and minor scales.

In the final moments of this series, after performing the B minor fugue, Esfahani purposefully revisits the C major prelude in a style reminiscent of the Goldberg Variations. He highlights that many preludes act as variations on previously introduced themes: “[an] harmonic structure over which a melodic motif is reiterated.” While some purists may debate this interpretation,Esfahani’s execution feels authentic rather than forced; aside from certain instances—such as what I perceive as an excessively somber C minor fugue—his tempo choices are generally well-received,revealing clarity throughout every movement.

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