Artist-in-residence

Foto: Kaja Smith

As artist-in-residence, you can be heard performing in various concert formats at the 2026 Bachfest. What does it mean to you to perform works by Bach in the place where they came about, as in the case of the Clavier-Übung?
Bach’s music is the expression of human vitality and energy and in its timelessness surmounts most of the preconceptions of our world view. But we should not forget that he achieved his artistic maturity in Leipzig against the backcloth of the intellectual life and publishing that went on there. So performing the Clavier-Übung is at the same time a bow to Leipzig. 

Bach began publishing his own works in print 300 years ago with Part I of the Clavier-Übung. How do these six partitas differ from other suite cycles by Bach? 
Where do I start? The partitas are Bach’s masterpiece in suite form when he had been writing suites and studying models by other composers for around two decades. The collection differs from other cycles by Bach in their encyclopaedic character – in the sense that here, almost all forms of the period are hinted at in some way or other, including the »lowlier« styles, which he referred to as »Galanterien«. 

At the Bachfest, you’ll be performing Parts I, II and IV of the Clavier-Übung on the harpsichord. In your view, is the harpsichord the ideal instrument for this music?
I’ve always underlined the fact that my performances on the harpsichord are not intended to question interpretations on other instruments. Nevertheless, I find it useful to remember that the Clavier-Übung represents the apotheosis of Bach’s efforts to transfer every aspect of dramatic and vocal performance to the harpsichord. Those who question the musicality of the harpsichord (ironically, these people never come to my concerts) would do well to ask themselves why Bach chose an instrument which, allegedly, lacked something. Instead of wondering what the ideal instrument is, we ought to wonder who is the ideal interpreter. I don’t lay claim to the title, but I think that my ideal is a person who has an open mind and open ears to be able to hear what the instrument is saying. 

Your Leipzig programme will be supplemented by a »clavichord night« in the Summer Hall. What do you find so particularly fascinating about the clavichord? What are the advantages of that instrument? 
I hope my beloved harpsichord won’t read this interview, because it would be vexed to read that the clavichord is my favourite instrument. With it, I can reflect on myself and retreat into myself. Where the harpsichord speaks in primary colours, the clavichord whispers in pastel tones; where the harpsichord is rough and ready, the clavichord smoothly navigates the most difficult mountain passes; where the harpsichord commands, the clavichord asks. It really is the most beautiful instrument I can think of. 

Clavier-Übung auf dem Cembalo I
Fri, 12 June / 10.30 pm / Salles de Pologne / No 24 
J. S. Bach: Partita B-Dur, BWV 825.2 · Partita G-Dur, BWV 829.2 · Partita D-Dur, BWV 828.2
Mahan Esfahani (harpsichord – artist-in-residence)

Bachs Schüler im Dialog
Sun, 14 June / 1.00 pm / Lutherkirche / No 59 
J. P. Kirnberger: Sinfonie G-Dur · J. L. Krebs: Concerto h-Moll, Krebs-WV 204 · J. G. Müthel: Konzert Es-Dur · J. G. Goldberg: Konzert d-Moll
Mahan Esfahani (harpsichord – artist-in-residence), Neues Bachisches Collegium Musicum, Leitung: Reinhard Goebel
Ac ooperation between Bachfest and Gewandhaus

My Favourite Clavichord Pieces
Mon, 15 June / 7.30 pm / Bach-Museum, Sommersaal / No 90 
Mon, 15 June / 9.00 pm / Bach-Museum, Sommersaal / No 94 
Mon, 15 June / 10.30 pm  / Bach-Museum, Sommersaal / No 95
Tue, 16 June / 0.00 pm / Bach-Museum, Sommersaal / No 96
A. de Cabezón: Diferencias sobre el canto llano del Caballero · J. J. Froberger: Toccata in F, FbWV 110 · Tombeau faît à Paris sur la mort de Monsieur Blancheroche in c, FbWV 632 · W. F. Bach: Fantasie e-Moll, Fk 21 (BR-WFB A 24) · J. S. Bach: Französische Suite Nr. 2 c-Moll, BWV 813.2 · C. P. E. Bach: Fantasie fis-Moll, Wq 67
Mahan Esfahani (harpsichord – artist-in-residence)

Clavier-Übung auf dem Cembalo II
Fri, 19 June / 2.00 pm / Paulinum – Aula und Universitätskirche St. Pauli / No 158 
J. S. Bach: Gigue, aus: Partita e-Moll, BWV 830.2 · Italienisches Konzert F-Dur, BWV 971 · Ouvertüre h-Moll nach französischer Art, BWV 831.2 · Goldberg-Variationen, BWV 988
Mahan Esfahani (harpsichord – artist-in-residence)