Bach’s Well-Tempered Clavier is a collection of 48 preludes and fugues for solo keyboard in two sets, each covering all 24 major and minor keys. This music, which music lovers affectionately refer to as “the 48,” has become something of a bible for pianists as well as a challenge for subsequent composers to try to imitate. In the early 1990s, American composer and pianist Henry Martin tossed his hat into the ring with the completion of his own first set of 24 Preludes and Fugues for piano, and soon after published a second set of 24.

On today’s date in 1992, at the National Gallery of Art in Washington, D.C., pianist Sara Davis Buechner performed three of Martin’s Preludes and Fugues for a program recorded by National Public Radio for broadcast the following month as part of their Bach birthday celebrations. Buechner has also made compact disc recordings of all of Martin’s “48.”

One enthusiastic reviewer of those recordings, Michael Barone, host of the nationally-distributed PIPEDREAMS organ program, wrote of Martin’s music, “We get shades of Debussy's impressionism, the vibrant jazzy riffs of Art Tatum, the spacey harmonies of John Coltrane, and the sophisticated improvisations of Bill Evans … but Martin's own individual genius shines brightly.”

Barone’s enthusiasm resulted in his commissioning Henry Martin to compose another set of 24 preludes and fugues – this time for organ! We think Bach would have approved.