Track List

  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music
  • Play music

※ Preview may take some time.
※ Preview is not available for songs under copyright collective.

The latest release from "office M," which produces classical music using DTM, is Bach's "The Well-Tempered Clavier, Book I." This is undeniably one of Bach's greatest masterpieces, often referred to as the Old Testament of keyboard music. It is a collection that is both familiar to piano learners and incredibly challenging. Composed using all keys, "The Well-Tempered Clavier" consists of preludes and fugues, totaling 48 pieces (across two books), each with its own unique character and charm, yet together forming an unparalleled, grand universe.
Originally, I thought of taking this collection to a deserted island, as it seemed like a work that would reveal new discoveries no matter how many times it was listened to. With that in mind, I aimed to create music that I would never tire of listening to for a lifetime. I selected virtual instruments from this perspective and used the electric piano sound source "Wurly" by Audio Thing, which felt most fitting for this music. The gentle timbre, reminiscent of a music box, perfectly complements Bach's calm atmosphere.
That said, listening to the entire collection is quite a task. For me, it was always a collection where "starting from the beginning, I would run out of steam midway," "the odd-numbered pieces are easier to listen to than the even-numbered ones," and "the preludes are more approachable than the fugues." However, I have now come to appreciate the magnificence of all 48 pieces, especially the latter half from the 12th piece onwards, and the beauty of the minor key fugues. I encourage you to listen starting from the latter half as well.

Artist Profile