In the early summer of 2005 Walter Riemer recorded Bach's "Art of the Fugue"on CD. This was the result of many years of occupation with this singular work of music.

Music of the 18th and early 19th century depends very much on performance practises any good "Musikus" would know; thus in particular articulation, agogics and ornaments were defined well. This knowledge to a large extent got lost in the course of the 19th Century, but was compiled again in the last decades by some distinctive authors and musicians (including Nikolaus Harnoncourt). In Walter Riemers "Art of the Fugue" interpretation an attempt was made to carry on these findings. The result seemed so promising and interesting that he began to apply this to other piano works by Bach (and not only by Bach!): thus the "Well-tempered piano" developed a completely new outfit, and to show this was also a philosophy in the concert on 2005-11-22 in the Salvator Hall in Vienna, Austria (http://niederfellabrunn.at/Arch/KKNF/OLD2005.HTM#BachSt). However, Haydn, Mozart, Beethoven and even Schubert benefit from this as well, and this was also demonstrated in the mentioned concert.

In the meantime still another aspect arose: Over decades or centuries, music scientiest and authors have been deploring the fact that Bach seemed not to have documented his "temperature" in writing, thus the method to tune his "Claviere" (different from the even temperature in use for modern pianos today) in a way that results in fifths of unequal width was forgotten.