# Museum background music

## Credit

Johann Sebastian Bach — Prelude No. 1 in C major, BWV 846, from *The Well-Tempered Clavier, Book 1*.
Piano: **Kimiko Ishizaka**. Album: *Bach: Well-Tempered Clavier, Book 1* (released March 19, 2015).
Recording engineer: Anne-Marie Sylvestre; recorded at Teldex Studio, Berlin, on a Bösendorfer 280.

- [Official artist track and download page](https://kimikoishizaka.bandcamp.com/track/prelude-no-1-in-c-major-bwv-846)
- [Official album and recording license statement](https://kimikoishizaka.bandcamp.com/album/bach-well-tempered-clavier-book-1)
- [Project's original release announcement](https://welltemperedclavier.org/kimiko-ishizaka-releases-open-well-tempered-clavier.html)
- [CC BY 4.0 license](https://creativecommons.org/licenses/by/4.0/)
- [CC0 1.0 public-domain dedication](https://creativecommons.org/publicdomain/zero/1.0/)

No endorsement by the composer, performer, project, studio, or label is implied.

## Composition and recording rights, checked separately

**Composition:** Bach's original eighteenth-century composition is public domain. The [Library of Congress authority record](https://findingaids.loc.gov/agents/people/22963) identifies the composer as Johann Sebastian Bach (1685–1750). The project's own release announcement also identifies its edition of the underlying *Well-Tempered Clavier* score as public domain. No modern arrangement or separate contemporary composition is used here.

**Performance and sound recording:** the artist's own album and track descriptions explicitly identify this recording as released under Creative Commons Zero, and the project's March 19, 2015 announcement independently confirms that the studio recording was released into the public domain. The recording rights are therefore evidenced by its creator's statements, rather than inferred from Bach's composition rights.

The Bandcamp page's separate license hyperlink currently points to **CC BY 4.0**, although its recording description says CC0. To respect both displayed notices, this website supplies the performer, composer, track, source, license link, and modification notice in its music control and this credit file, satisfying the stricter attribution requirements of CC BY 4.0. Both CC0 and CC BY 4.0 permit copying, website playback, redistribution, and commercial reuse. See the primary license documents above. The observed notices and source hashes are preserved in [license-evidence.json](license-evidence.json).

## Local audio and modifications

- Website path: `/audio/bach-bwv846-prelude-kimiko-ishizaka.mp3`
- Source: the complete, publicly accessible `mp3-128` rendition supplied by the artist's official Bandcamp track page (`data-tralbum.trackinfo[0].file`), track ID `1880979721`.
- Retrieved: November 3, 2026.
- Audio: MP3, 128 kb/s, 44.1 kHz, stereo; **162.920 seconds**; **2,607,691 bytes**.
- Local SHA-256: `384e2019376937a6a5e3f07834963f1d4240b7a11c8a255b498b14f98172fb22`
- Source download SHA-256 before removing non-audio data: `bd508655654a0a4c0c6a85757bd8c95ce677fdbb40c26b41a481ba2cddc479cf`.
- Modification: removed the embedded cover image and descriptive file metadata with the already-installed ffmpeg. The MP3 audio stream was copied **without re-encoding, trimming, composition changes, or generated sound**. No cover-art rights are required because the cover is not distributed.
- Browser playback repeats the entire recording after its original ending; it does not splice a fabricated loop or cut off the final chord.

Reproduction of the metadata-removal step:

```powershell
ffmpeg -i source.mp3 -map 0:a:0 -c:a copy -map_metadata -1 bach-bwv846-prelude-kimiko-ishizaka.mp3
```

The player starts only on its explicit play button, uses `preload="none"`, and does not even assign an audio source until play is requested. Its initial volume is 20%; story screens reduce that selected level to one quarter. The user's own pause and mute settings remain authoritative.

## Verification limits

ffprobe verified duration, codec, channels, sample rate, and absence of an image stream. ffmpeg decoded the complete file successfully; volume analysis found a peak of -15.3 dBFS and mean of -34.2 dBFS, without applying gain changes. These measurements are not a substitute for listening. A human listening check of the ending-to-start repetition and classroom loudness is still required; no listening quality claim is made from these measurements.