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Playlist of J. S. Bach

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    The Best of Bach

    1:51:21

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    THE BEST OF BACH
    Johann Sebastian Bach

    1. Brandenburg Concerto No. 1 in F major, BWV 1046 – Allegro (00:00)
    2. Brandenburg Concerto No. 1 in F major, BWV 1046 – Adagio (4:43)
    3. Brandenburg Concerto No. 1 in F major, BWV 1046 – Allegro (9:10)
    4. Brandenburg Concerto No. 3 in G major, BWV 1048 – Allegro (13:40)
    5. Brandenburg Concerto No. 3 in G major, BWV 1048 – Allegro assai (19:11)
    6. Brandenburg Concerto No. 4 in G major, BWV 1049 – Allegro (24:05)
    7. Brandenburg Concerto No. 4 in G major, BWV 1049 – Presto (31:42)
    8. Brandenburg Concerto No. 4 in G major, BWV 1049 – Andante (36:37)
    9. Brandenburg Concerto No. 5 in D major, BWV 1050 – Affettuoso (39:32)
    10. Brandenburg Concerto No. 6 in B flat major, BWV 1051 – Allegro (45:02)
    11. Concerto for Violin and Oboe in C minor, BWV 1060 – Allegro (50:38)
    12. Concerto for Violin and Oboe in C minor, BWV 1060 – Largo (54:59)
    13. Concerto for Violin and Oboe in C minor, BWV 1060 – Allegro (59:32)
    14. Orchestral Suite No. 2 in B Minor, BWV 1067 – Menuet (1:02:35)
    15. Orchestral Suite No. 3 in D Major, BWV 1068 – Air on the G String (1:05:35)
    16. Cantata BWV 147 – Jesu, Joy of Man's Desiring (1:10:07)
    17. Toccata and Fugue in D Minor, BWV 565 (1:13:32)
    18. Harpsichord Invention No. 1 in C major, BWV 772 (1:22:23)
    19. Harpsichord Invention No 8 in F major, BWV 779 (1:23:43)
    20. Orchestral Suite No. 2 in B Minor, BWV 1067 – Badinerie (1:24:42)
    21. Notebook for Anna Magdalena Bach: Minuet in G major, BWV Ahn. 114 (1:27:24)
    22. Notebook for Anna Magdalena Bach: Musette in D major, BWV Anh.126 (1:28:59)
    23. Violin Partita No. 3 in E Major, BWV 1006 – Bourée (1:30:06)
    24. Sonata for Viola da Gamba & Harpsichord, BWV 1028 (1:31:48)
    25. Concerto in D minor, BWV 1059 – 2nd Movt. (1:35:44)
    26. Cello Suite No. 4 in E-flat major, BWV 1010 – Courante (1:38:54)
    27. Cello Suite No. 6 in D major, BWV 1012 – Gavotte (1:42:32)
    28. Cello Suite No. 6 in D major BWV 1012 – Prelude (1:46:42)

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    #classicalmusic #classical #baroque #baroquemusic #bach

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    J.S. Bach: The Violin Concertos

    1:19:51

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    Composer: Johann Sebastian Bach
    Artists: Emmy Verhey (violin), Camerata Antonio Luco, Rainer Kussmaul (violin), Henk Rubingh (violin), Thomas Hengelbrock (violin), Amsterdam Bach (Soloists)

    About this album:
    Available as a separate release: all concertos for 1 violin by Bach. They are BWV 1041 and 1042: the well-known concertos. BWV1052, 1056 and 1064 are reconstructions. The latter one being for three violins. Soloists are among others Emmy Verhey and Rainer Kussmaul.

    Tracklist:
    00:00:00 Violin Concerto in A Minor, BWV 1041: Allegro
    00:03:52 Violin Concerto in A Minor, BWV 1041: Adagio
    00:10:23 Violin Concerto in A Minor, BWV 1041: Allegro
    00:14:22 Violin Concerto in E Major, BWV 1042: Allegro
    00:22:05 Violin Concerto in E Major, BWV 1042: Adagio
    00:28:47 Violin Concerto in E Major, BWV 1042: Allegro assai
    00:31:42 Violin Concerto in D Minor, BWV 1052: Allegro
    00:39:20 Violin Concerto in D Minor, BWV 1052: Largo
    00:46:22 Violin Concerto in D Minor, BWV 1052: Presto
    00:54:14 Violin Concerto in G Minor, BWV 1056: Allegro
    00:57:37 Violin Concerto in G Minor, BWV 1056: Andante
    01:00:52 Violin Concerto in G Minor, BWV 1056: Allegro assai
    01:04:30 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Allegro
    01:10:23 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Adagio
    01:15:35 Concerto for 3 violins, strings & b.c. in D Major, BWV 1064: Allegro

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    J.S. Bach: Complete Partitas

    2:25:05

    This album contains the complete Partitas by Bach, presented by Piano Classics, a label of Brilliant Classics.

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    This recording of the complete 6 Partitas is a marvel of elegance, wit, rhetoric and brilliance, played on a modern Steinway.

    “China’s premier interpreter of Bach”, is what International Piano Magazine called Yuan Sheng. A pupil of Solomon Mikowsky (Manhattan School of Music) and notably Rosalyn Tureck Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the harpsichord he has an instinctive feeling for the possibilities, sonorities and touch of the instrument at hand, so that “the listener might easily have imagined the composer at the keyboard” (Boston Intelligencer). Besides pursuing an international career Yuan Sheng is Professor of Piano at the Bejing Central Conservatory of Music.

    Composer: Johann Sebastian Bach
    Artist: Yuan Sheng (piano)

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    Tracklist:

    Partita No. 1 in B-Flat Major, BWV 825:
    00:00:00 I. Praeludium
    00:01:43 II. Allemande
    00:05:37 III. Corrente
    00:08:35 IV. Sarabande
    00:14:10 V. Menuet I&II
    00:17:20 VI. Giga

    Partita No. 2 in C Minor, BWV 826:
    00:19:22 I. Sinfonia
    00:23:43 II. Allemande
    00:28:20 III. Courante
    00:30:42 IV. Sarabande
    00:34:41 V. Rondeaux
    00:36:07 VI. Capriccio

    Partita No. 4 in D Major, BWV 828:
    00:39:41 I. Ouverture
    00:46:02 II. Allemande
    00:55:09 III. Courante
    00:58:49 IV. Sarabande
    01:04:58 V. Aria
    01:07:12 VI. Menuet
    01:08:38 VII. Gigue

    Partita No. 3 in A Minor, BWV 827:
    01:12:13 I. Fantasia
    01:14:22 II. Allemande
    01:17:09 III. Corrente
    01:20:34 IV. Sarabande
    01:25:03 V. Burlesca
    01:27:30 VI. Scherzo
    01:28:40 VII. Gigue

    Partita No. 5 in G Major, BWV 829:
    01:31:56 I. Praeambulum
    01:34:38 II. Allemande
    01:38:56 III. Corrente
    01:40:48 IV. Sarabande
    01:45:57 V. Tempo di menuetta
    01:47:52 VI. Passepied
    01:49:37 VII. Gigue

    Partita No. 6 in E Minor, BWV 830:
    01:53:26 I. Toccata
    02:00:26 II. Allemanda
    02:03:32 III. Corrente
    02:08:22 IV. Sarabande
    02:15:16 V. Air
    02:16:46 VI. Tempo di gavotte
    02:18:57 VII. Gigue

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    J.S. Bach: 6 Suites for Cello Solo played by István Várdai

    2:18:51

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    About this album:
    In May 2014 the Hungarian cellist István Várdai performed three Bach Suites at an unusual venue in New York: not the storied glamour of Carnegie Hall or the hip 92st St Y, but the Board of Officers Room in the recently renovated Armory on Park Avenue, a room no less redolent of distinguished history: to which he made his own distinguished contribution according to the New York Times, with a recital which concluded with a ‘superb’ performance of the Sixth Suite.
    Bach’s iconic solo suites form the pinnacle of the entire cello repertoire, the ultimate challenge and a Mount Everest every young and aspiring cellist has to climb, no matter how often that has already been done.
    Young Hungarian cellist István Várdai is winner of the Geneva Competition, 3rd prize Tchaikovsky Competition 2007 and first prize winner of the prestigious ARD competition in 2014. He embarked on a successful international career, having played with Mikhael Pletnev, Adám Fischer, Zoltán Kocsis, and chamber music partner of Gidon Kremer, Mischa Maisky, Elisabeth Leonskaja, Andras Schiff, Klára Würtz and many others.


    Tracklist:
    00:00:00 Cello Suite No. 1 in G Major, BWV 1007: I. Prélude
    00:02:52 Cello Suite No. 1 in G Major, BWV 1007: II. Allemande
    00:07:08 Cello Suite No. 1 in G Major, BWV 1007: III. Courante
    00:10:01 Cello Suite No. 1 in G Major, BWV 1007: IV. Sarabande
    00:12:39 Cello Suite No. 1 in G Major, BWV 1007: V. Menuet I & II
    00:15:56 Cello Suite No. 1 in G Major, BWV 1007: VI. Gigue 1
    00:17:32 Cello Suite No. 3 in C Major, BWV 1009: I. Prelude
    00:21:25 Cello Suite No. 3 in C Major, BWV 1009: II. Allemande
    00:25:07 Cello Suite No. 3 in C Major, BWV 1009: III. Courante
    00:28:29 Cello Suite No. 3 in C Major, BWV 1009: IV. Sarabande
    00:32:30 Cello Suite No. 3 in C Major, BWV 1009: V. Bourrée I & II
    00:36:13 Cello Suite No. 3 in C Major, BWV 1009: VI. Gigue
    00:39:31 Cello Suite No. 5 in C Minor, BWV 1011: I. Prelude
    00:46:20 Cello Suite No. 5 in C Minor, BWV 1011: II. Allemande
    00:51:10 Cello Suite No. 5 in C Minor, BWV 1011: III. Courante
    00:53:20 Cello Suite No. 5 in C Minor, BWV 1011: IV. Sarabande
    00:57:12 Cello Suite No. 5 in C Minor, BWV 1011: V. Gavotte I & II
    01:02:08 Cello Suite No. 5 in C Minor, BWV 1011: VI. Gigue
    01:04:17 Cello Suite No. 2 in D Minor, BWV 1008: I. Prelude
    01:08:20 Cello Suite No. 2 in D Minor, BWV 1008: II. Allemande
    01:11:27 Cello Suite No. 2 in D Minor, BWV 1008: III. Courante
    01:13:29 Cello Suite No. 2 in D Minor, BWV 1008: IV. Sarabande
    01:17:48 Cello Suite No. 2 in D Minor, BWV 1008: V. Menuet I & II
    01:20:38 Cello Suite No. 2 in D Minor, BWV 1008: VI. Gigue
    01:23:12 Cello Suite No. 4 in E-Flat Major, BWV 1010: I. Prelude
    01:27;45 Cello Suite No. 4 in E-Flat Major, BWV 1010: II. Allemande
    01:32:06 Cello Suite No. 4 in E-Flat Major, BWV 1010: III. Courante
    01:35:47 Cello Suite No. 4 in E-Flat Major, BWV 1010: IV. Sarabande
    01:40:09 Cello Suite No. 4 in E-Flat Major, BWV 1010: V. Bourrée I & II
    01:45:04 Cello Suite No. 4 in E-Flat Major, BWV 1010: VI. Gigue
    01:47:48 Cello Suite No. 6 in D Major, BWV 1012: I. Prelude
    01:52:54 Cello Suite No. 6 in D Major, BWV 1012: II. Allemande
    02:01:12 Cello Suite No. 6 in D Major, BWV 1012: III. Courante
    02:05:10 Cello Suite No. 6 in D Major, BWV 1012: IV. Sarabande
    02:10:45 Cello Suite No. 6 in D Major, BWV 1012: V. Gavotte I & II
    02:14:38 Cello Suite No. 6 in D Major, BWV 1012: VI. Gigue

    Artist:
    István Várdai (cello)

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    J. S. Bach - Brandenburg Concertos

    1:32:53

    Johann Sebastian Bach (1685-1750).
    Brandenburg Concertos.

    Concerto nº1 in F major BWV 1046
    1. (no tempo indication)
    2. Adagio
    3. Allegro
    4. Menuetto-Trio I-Polacca-Trio II

    Concerto nº2 in F major BWV 1047
    5. (no tempo indication)
    6. Andante
    7. Allegro assai

    Concerto nº3 in G major BWV 1048
    8. (no tempo indication)
    9. Adagio - Allegro

    Concerto nº4 in G major BWV 1049
    10. Allegro
    11. Andante
    12. Presto

    Concerto nº5 in D major BWV 1050
    13. Allegro
    14. Affettuoso
    15. Allegro

    Concerto nº6 in B flat major BWV 1051
    16. (no tempo indication)
    17. Adagio ma non tanto
    18. Allegro

    Soloists

    Orchestra Of The Age Of Enlightenment
    Bach, una de las cimas...

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    J.S. Bach - Prelude in C Major

    2:45

    Sheet music:
    Click the 🔔bell to join the notification squad!
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    Hope you enjoy my performance of Bach's Prelude in C Major.

    Outro: Chopin - Prelude in E Minor (Op. 28 No. 4)

    Hello, I'm Rousseau, I make piano covers of classical and pop songs with a reactive visualizer. New videos every Monday!

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    J.S. Bach: Suites for Guitar

    2:14:24

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    Composer: Johann Sebastian Bach
    Artist: Luigi Attademo (guitar)

    J.S. Bach composed no original works for guitar, and although several compositions for lute have been attributed to him, his interest in this expressive instrument appears to have been rather limited, possibly because his mastery and knowledge of it was less extensive than of other instruments, such as the violin and keyboard.

    However, the 20th century still witnessed an increasing interest in the possibility of performing Bach’s music on the guitar. It was in the late 1920s that Andrés Segovia recorded the Courante of the 3rd Cello Suite, and he followed this with the Chaconne from the Partita No.2 for solo violin, later recording the entire work. Julian Bream and Narciso Yepes also made recordings on the guitar of Bach’s music, but it was John Williams who eventually recorded the complete works for lute.

    These discs focus particularly on Bach’s Suites for lute – including BWV996, now attributed to his pupil J.L. Krebs. Also included is the complete Partita No.2 for solo violin.

    To ensure that questions of interpretation were considered thoroughly, these recordings were made following extensive study of 18th century performance practice, as well as secondary sources that discuss how Bach’s music was originally played.

    00:00:00 Suite, BWV 996 in E Minor: I. Preludio: Passaggio – Presto
    00:02:57 Suite, BWV 996 in E Minor: II. Allemande
    00:06:47 Suite, BWV 996 in E Minor: III. Courante
    00:09:19 Suite, BWV 996 in E Minor: IV. Sarabande
    00:13:31 Suite, BWV 996 in E Minor: V. Bourée
    00:14:42 Suite, BWV 996 in E Minor: VI. Giga
    00:17:32 Suite, BWV 1006 in E: I. Präludium
    00:21:40 Suite, BWV 1006 in E: II. Loure
    00:25:10 Suite, BWV 1006 in E: III. Gavotte en Rondeaux
    00:28:12 Suite, BWV 1006 in E: IV. Menuett I
    00:29:28 Suite, BWV 1006 in E: V. Menuett II
    00:31:38 Suite, BWV 1006 in E: VI. Bourée
    00:33:12 Suite, BWV 1006 in E: VII. Gigue
    00:35:07 Partita, BWV 1004 in D Minor: I. Allemanda
    00:42:10 Partita, BWV 1004 in D Minor: II. Corrente
    00:44:58 Partita, BWV 1004 in D Minor: III. Sarabanda
    00:49:14 Partita, BWV 1004 in D Minor: IV. Giga
    00:53:46 Partita, BWV 1004 in D Minor: V. Ciaccona
    01:08:07 Suite, BWV 995 in A Minor: I. Prelude
    01:13:26 Suite, BWV 995 in A Minor: II. Allemande
    01:20:10 Suite, BWV 995 in A Minor: III. Courante
    01:22:43 Suite, BWV 995 in A Minor: IV. Sarabande
    01:26:46 Suite, BWV 995 in A Minor: V. Gavotte I
    01:28:54 Suite, BWV 995 in A Minor: VI. Gavotte II en Rondeaux
    01:31:14 Suite, BWV 995 in A Minor: VII. Gigue
    01:33:22 Suite, BWV 997 in A Minor: I. Prelude
    01:36:46 Suite, BWV 997 in A Minor: II. Fuga
    01:44:51 Suite, BWV 997 in A Minor: III. Sarabande
    01:50:04 Suite, BWV 997 in A Minor: IV. Giga
    01:52:57 Suite, BWV 997 in A Minor: V. Double
    01:55:48 Suite, BWV 998 in D: I. Prelude
    01:58:34 Suite, BWV 998 in D: II. Fuga
    02:03:50 Suite, BWV 998 in D: III. Allegro
    02:07:23 Prelude for lute, BWV 999 in D Minor
    02:09:05 Fugue, BWV 1000 in A Minor

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    J.S. Bach Cello Suites No.1-6 BWV 1007-1012, Ralph Kirshbaum

    2:21:03

    J.S. Bach Cello Suites No.1-6 BWV 1007-1012, Ralph Kirshbaum

    1. Cello Suite No.1 in G major BWV 1007 0:00-18:07
    Prelude Allemande Courante Sarabande Minuet Gigue
    2. Cello Suite No.2 in D minor BWV 1008 18:07-38:02
    Prelude Allemande Courante Sarabande Minuet Gigue
    3. Cello Suite No.3 in C major BWV 1009 38:02-1:00:39
    Prelude Allemande Courante Sarabande Bourree Gigue
    4. Cello Suite No.4 in E flat major BWV 1010 1:00:39-1:24:47
    Prelude Allemande Courante Sarabande Bourree Gigue
    5. Cello Suite No.5 in C minor BWV 1011 1:24:47-1:51:02
    Prelude Allemande Courante Sarabande Gavotte Gigue
    6. Cello Suite No.6 in D major BWV 1012 1:51:02
    Prelude Allemande Courante Sarabande Gavotte Gigue

    Painting: Jean Raoux, Orpheus and Eurydice, Oil on Canvas, 1709

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    Mischa Maisky plays Bach Cello Suite No.1 in G

    19:28

    1. Prelude - 0:00
    2. Allermande - 2:45
    3. Courante - 7:09
    4. Sarabande - 9:47
    5. Menuet I / II - 13:41
    6. Gigue - 17:38

    Unitel 1993

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    J.S. Bach - Toccata and Fugue in D minor BWV 565

    8:33

    Johann Sebastian Bach's Toccata and Fugue in D Minor BWV 565 played by organist Hans-André Stamm on the Trost-Organ of the Stadtkirche in Waltershausen, Germany.
    Toccata et fugue en ré mineur BWV 565 de Johann Sebastian Bach, interprété par Hans-André Stamm sur l'orgue Trost de la Stadtkirche, à Waltershausen, Allemagne.

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    Adagio - Johann Sebastian Bach

    5:40

    Τhis version is made by Elise Robineau - Concerto en re mineur BWV974 - Adagio d'apres Marcello - Piano & Cello

    Adagio - Johann Sebastian Bach Re minor BWV 974
    Piano-Violoncello

    I do not own any rights to the music nor I am profiting from uploading it on youtube.

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    Toccata and Fugue in D Minor

    9:21

    Though the composition is public domain, the performance belongs to the record label that recorded the following performer (see YouTube's attributes in the full description):
    Hannes Kästner
    Album:
    Bach, J.S.: Organ Music - Preludes and Fugues - Toccata and Fugue in D Minor - Chorales Preludes.

    This album was released in 1988 and it's also available on ITunes :

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    J.S. Bach - Toccata and Fugue in D Minor BWV 565 // Amy Turk, Harp

    9:33

    SHEET MUSIC:

    PRINT EDITION:

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    Audio track available via Spotify, iTunes, Apple Music, Google Play, Amazon, Pandora, Deezer, Tidal, Microsoft Groove, and MediaNet.

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    My own transcription of one of J.S. Bach's most infamous and popular works. I first had the idea of playing this piece in 2013 after hearing an old Russian transcription performed by the incredible Vavara Ivanova, but couldn't get hold of that version due to it being out of print. I loved the power this piece brings to the harp and was determined to try it for myself as I'm a huge fan of anything where I get to play LOUD! The process of adapting the piece for the harp and preparing for this performance took 18 months and many, many practice hours! Its first public performance was as the opening piece of my Masters final recital at the Royal Academy of Music, London in July 2014. Yes I know, how crazy was I to open my recital with this...I then had to play for a further 35 minutes!

    All notes in this transcription are Bach's - there are a few moments where certain notes have been omitted where it was impossible to play, but nothing has been added or embellished in terms of pitches or rhythms. My aim in transcribing this was to be as accurate and respectful to the original as I possibly could, whilst also exploring the greater dynamic possibilities with regards to quiets, crescendos and diminuendos that are possible on the harp. I absolutely loved recreating the sound of different manuals/stops in certain repeated passages of the fugue - this is achieved by playing lower in the strings before returning back to the middle where I'd normally play.

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    J.S. Bach: Cantata Ich ruf zu dir, Herr Jesu Christ BWV 177 Il Gardellino

    23:21

    Johann Sebastian Bach

    Cantata Ich ruf zu dir, Herr Jesu Christ for Soloists, Chorus, 2 Oboes, Oboe da caccia, Bassoon, Strings and Continuo BWV 177 [1732]:
    1. Coro: Ich ruf zu dir, Herr Jesu Christ 0:10
    2. Aria: Ich bitt noch mehr, o Herre Gott 6:57
    3. Aria: Verleih, daß ich aus Herzensgrund 12:07
    4. Aria: Laß mich kein Lust noch Furcht von dir 17:13
    5. Chorale: Ich lieg im Streit und widerstreb 22:01

    Caroline Weynants [soprano]
    Damien Guillon [countertenor]
    Marcus Ullmann [tenor]
    Lieven Termont [baritone]

    Il Gardellino
    Marcel Ponseele [direction]

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    Johann Sebastian Bach - Little Fugue in G minor, BMV 578

    4:07

    Sebastian, Bach, Johann, Classical, Light classical, masterpiece, Organ pipes,Classical music

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    J.S. Bach Chromatic Fantasia and Fugue in d minor, BWV 903

    12:03

    The Chromatic Fantasia and Fugue is an extravagant work of virtuosity and bold harmonic structure. It is an extraordinary piece - large, sprawling, emotional, and unique in its character compared to the rest of Bach's music. The title of the piece comes from either the fugue’s chromatic melody, or from the startling modulations in the Fantasia. Either opinion is equally acceptable and debated.

    Bach composed only a few “fantasies” – a type of prelude usually preceding a fugue. The Fantasia is highly virtuosic and similar in form to the toccata, English fantasy, and the canzone, in that it consists of alternating sections of differently textured music. The English fantasy differs from Bach’s fantasies because it does not contain any free, improvisational sections. And unlike the Italian canzone, Bach’s chromatic fantasy does not include sections of imitative counterpoint.

    The Fantasia consists of three main sections: the first (0:00) being a true prelude, the second (3:38) a recitative-like section, and the third (4:58) a mixture of the two. Some scholars, however, categorize the extensive arpeggio part preceding the recitative as a separate section in itself. The first section consists of technically demanding toccata-like passagework. Conversely, the recitative that follows is musically challenging, requiring extreme emotional sensitivity. And the third section combines the two elements in a virtuosic drive to the end.

    The fugue begins in a strict style but gradually loosens, revealing elements of the fantasy. It opens with a long and complex semitonal subject. The fugue has three sections with eleven entrances of the fugal theme. Every entry of the theme contains an element of uncertainty, yet each seems to be anticipated by the previous one. The first section stays mostly in d minor, while the second section modulates as the theme is introduced in distantly related keys. The third section again returns to d minor and ends with bravura passage work, scales, and “organistic” octave doubling in the bass, not unlike the closing of a toccata. Compared to the fugues of The Well-Tempered Clavier, this fugue is treated much more freely.

    0:00 - Fantasia
    6:54 - Fugue

    description adapted from:

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    Jesús alegría de los hombres. Cantata 147. J.S. Bach

    3:49

    Concierto Voces para la Paz 2008. ENSAYO GENERAL.
    Auditorio Nacional de Música.
    Madrid 21 de Diciembre de 2008.
    Director: José Ramón Encinar.
    Proyecto humanitario:

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    Come, Sweet Death by J.S. Bach

    7:55

    Aram Basmadjian performs Virgil Fox's arrangement of Come, Sweet Death by J.S. Bach. This performance showcases the beautiful string stops found on the Allen four-manual Quantum Q475. For further information about this instrument, please visit our website at:

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    J.S.Bach - Menuet

    1:24

    Menuet

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    Johann Sebastian Bach-Air on G String

    5:24

    Air from Johann Sebastian Bach's 3rd Orchestral Suites or Ouverture No. 3 in D major, BWV 1068.
    The Air is one of the most famous pieces of baroque music.

    Preformed By: The Berlin Philharmonic Orchestra
    Conducted By: Sir Simon Rattle

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    J.S. Bach: Oboe Concertos

    1:5:41

    Composer: Johann Sebastian Bach
    Artists: Andrius Puskunigis (oboe and oboe d’amore), Simona Venslovaite (violin), St. Christopher Chamber Orchestra. Donatas Katkus (conductor)

    Tracklist below.

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    We can’t be sure that Bach wrote any concertos specifically for the oboe aside from the C minor concerto BWV1060 – in which it’s partnered by the violin in an exercise of pathos out of all proportion to the modest dimensions of the work itself. The other concertos here come down to us as harpsichord concertos, in which guise they do not sit entirely happily, and it seems more than likely that Bach, as both unhappy Kapellmeister of the Thomaskirche in Leipzig and far more content in his role supplying music, musicians and concerts to Zimmermann’s coffee house in the city, would have been glad to take advantage of the soloistic potential of a resident oboist to craft these Italianate concertos that exploit both the instrument’s origins in pastoral idiom (notably BWV1053, in the ‘pastoral’ key of F major, and its gently swaying siciliano middle movement in 6/8), as well as more urbane and learned counterpoint of which he was undisputed master among his peers.

    Andrius Puskingis is a Lithuanian oboist, now resident in France, who returns to his home city to play and direct these spirited and intimate performances. At present he is the principal oboist with the Heidelburg Symphony Orchestra, who have made an acclaimed series of Haydn symphony recordings with their music director Thomas Fey, and something of Fey’s restless spirit of adventure can also be traced in these fine new recordings.

    00:00:00 Oboe Concerto in F Major, BWV 1053: I. Allegro
    00:07:15 Oboe Concerto in F Major, BWV 1053: II. Siciliano
    00:12:09 Oboe Concerto in F Major, BWV 1053: III. Allegro
    00:18:02 Concerto for Oboe d’amore in A Major, BWV 1055: I. Allegro
    00:22:15 Concerto for Oboe d’amore in A Major, BWV 1055: II. Larghetto
    00:26:18 Concerto for Oboe d’amore in A Major, BWV 1055: III. Allegro ma non tanto
    00:30:52 Oboe Concerto in G Minor, BWV 1056: I. Allegro
    00:34:07 Oboe Concerto in G Minor, BWV 1056: II. Largo
    00:36:29Oboe Concerto in G Minor, BWV 1056: III. Presto
    00:39:55 Concerto for Oboe d’amore in G Major: I. Bass aria (Arr. BWV 100)
    00:43:19 Concerto for Oboe d’amore in G Major: II. Alto aria (Arr. BWV 170)
    00:49:35 Concerto for Oboe d’amore in G Major: III. Bass aria (Arr. BWV 30)
    00:53:52 Concerto for Oboe and Violin in C Minor, BWV 1060: I. Allegro
    00:58:16 Concerto for Oboe and Violin in C Minor, BWV 1060: II. Adagio
    01:02:19 Concerto for Oboe and Violin in C Minor, BWV 1060: III. Allegro

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    J.S.Bach - Matthäus-Passion - Wir setzen uns mit Tränen nieder

    6:00

    J.S.Bach - Matthäus Passion, Münchener Bach-Chor, Münchener Bach-Orchester, Karl Richter 1971

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    J.S. Bach: Sonatas and Partitas for Classical Guitar

    2:34:58

    Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play and more):


    Why transcribe and perform the sonatas and partitas for solo violin on the guitar? It is surely the works themselves that provide the justification; their indestructible melodic poetry and their rich implied counterpoint at which the original violin can only hint.
    Many guitarists have already gone where more cautious spirits would fear to tread and made their own transcriptions; this new version carries the imprimatur of David Russell, one of the most internationally acclaimed guitarists of his generation, who writes that Francesco Teopini ‘plays with a beautiful sound, faithfully recorded. His interpretation shows a deep understanding of these major works.’
    In a useful booklet-note, Teopini himself notes that these works are now standard repertoire for guitarists, even mandatory for the sake of personal development, as perhaps Bach is for every musician regardless of instrument. His arrangement is relatively discreet, adding just a few more bass notes to amplify chords in movements such as the famous Chaconne which is the climax of the cycle. Elsewhere he has borne in mind the art of the clavecin, which no less relevant to the guitar as an instrument of Bach’s time than the original violin. There is naturally greater opportunity for ornamentation, which Teopini takes with discretion.
    Italian by birth, Teopini himself is a graduate of the Royal Academy of Music in London, currently resident as a teacher and performer in Hong Kong, with a repertoire ranging from Bach through the Classical Spanish repertoire to contemporary works, several of which he has commissioned and premiered by composers including Gian Carlo Mantovani and Fausto Tuscano .

    00:00:00 Sonata No. 1 in G Minor, BWV 1001: I. Adagio
    00:05:14 Sonata No. 1 in G Minor, BWV 1001: II. Fuga
    00:10:41 Sonata No. 1 in G Minor, BWV 1001: III. Siciliana
    00:13:44 Sonata No. 1 in G Minor, BWV 1001: IV. Presto
    00:17:36 Partita No. 1 in B Minor, BWV 1002: I. Allemanda – Double
    00:27:17 Partita No. 1 in B Minor, BWV 1002: II. Corrente – Double
    00:35:23 Partita No. 1 in B Minor, BWV 1002: III. Sarabande – Double
    00:42:10 Partita No. 1 in B Minor, BWV 1002: IV. Tempo di borea – Double
    00:49:37 Sonata No. 2 in A Minor, BWV 1003: I. Grave
    00:55:07 Sonata No. 2 in A Minor, BWV 1003: II. Fuga
    01:03:01 Sonata No. 2 in A Minor, BWV 1003: III. Andante
    01:08:59 Sonata No. 2 in A Minor, BWV 1003: IV. Allegro
    01:15:16 Partita No. 2 in D Minor, BWV 1004: I. Allemanda
    01:21:18 Partita No. 2 in D Minor, BWV 1004: II. Corrente
    01:23:43 Partita No. 2 in D Minor, BWV 1004: III. Sarabanda
    01:28:28 Partita No. 2 in D Minor, BWV 1004: IV. Giga
    01:32:37 Partita No. 2 in D Minor, BWV 1004: V. Ciaccona
    01:50:59 Sonata No. 3 in C Major, BWV 1005: I. Adagio
    01:55:44 Sonata No. 3 in C Major, BWV 1005: II. Fuga
    02:08:04 Sonata No. 3 in C Major, BWV 1005: III. Largo
    02:11:21 Sonata No. 3 in C Major, BWV 1005: IV. Allegro assai
    02:16:30 Partita No. 3 in E Major, BWV 1006: I. Preludio
    02:20:26 Partita No. 3 in E Major, BWV 1006: II. Loure
    02:24:07 Partita No. 3 in E Major, BWV 1006: III. Gavotte en rondeau
    02:27:40 Partita No. 3 in E Major, BWV 1006: IV. Menuet I et II
    02:31:21 Partita No. 3 in E Major, BWV 1006: V. Bourrée
    02:33:07 Partita No. 3 in E Major, BWV 1006: VI. Gigue

    Artist:
    Francesco (Teopini classical guitar)

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    Thibaut Garcia plays J.S. Bachs Chaconne

    2:10

    The mighty Chaconne, which concludes Bach's Partita No. 2 for Solo Violin, is transformed into a captivating guitar solo on Thibaut Garcia's album Bach Inspirations, which juxtaposes three famous pieces by this great composer with works inspired by his music. Listen:

    “We have Johann Sebastian Bach the man and composer, but also Johann Sebastian Bach as muse and inspiration, says Thibaut. This album is built around his music and the influence it had on later generations of composers. The central piece is the Chaconne from the Second Partita for Violin, well known as a work that develops with particular grandeur and drama.”

    _________

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    Warner Classics is the home of classical music, featuring iconic high audio quality recordings from the greatest classical legends, opera stars and orchestras of the last century.

    Discover our unique collection of live performances, studio sessions and films featuring Maria Callas, Jacqueline du Pré, Nigel Kennedy, Mstislav Rostropovich, Yehudi Menuhin, Itzhak Perlman, Herbert von Karajan, Berliner Philharmoniker and more.

    Along with its sister label Erato, Warner Classics continues this tradition with today's most in-demand classical artists, such as Philippe Jaroussky, Joyce DiDonato, Diana Damrau, Emmanuel Pahud, Alexandre Tharaud, Sir Antonio Pappano, Christina Pluhar and Renaud Capuçon.

    Enjoy this ever-expanding library of official performance videos and exclusive interviews from the classical greats. Check back regularly for more music from your favourite composers including Bach, Mozart, Chopin, Debussy, Satie, Beethoven, Vivaldi, Handel and more.

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    J.S. Bach: Complete Concertos Vol. 1

    5:7:59

    Composer: J.S Bach

    Artist:
    Pieter-Jan Belder harpsichord
    Christine Schornsheim harpsichord
    Musica Amphion
    Neues Bachisches Collegium Musicum
    Netherlands Bach Ensemble

    Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):
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    00:00:00 Brandenburg Concerto No. 1 in F Major, BWV 1046: I. —
    00:03:54 Brandenburg Concerto No. 1 in F Major, BWV 1046: II. Adagio
    00:07:28 Brandenburg Concerto No. 1 in F Major, BWV 1046: III. Allegro
    00:11:34 Brandenburg Concerto No. 1 in F Major, BWV 1046: IV. Menuet - Trio I - Polonaise - Trio II 00:19:39 Brandenburg Concerto No. 2 in F Major, BWV 1047: I. —
    00:24:37 Brandenburg Concerto No. 2 in F Major, BWV 1047: II. Andante
    00:27:42 Brandenburg Concerto No. 2 in F Major, BWV 1047: III. Allegro assai
    00:30:26 Brandenburg Concerto No. 3 in G Major, BWV 1048: I. —
    00:35:45 Brandenburg Concerto No. 3 in G Major, BWV 1048: II. Adagio
    00:36:06 Brandenburg Concerto No. 3 in G Major, BWV 1048: III. Allegro
    00:40:51 Brandenburg Concerto No. 4 in G Major, BWV 1049: I. Allegro
    00:47:33 Brandenburg Concerto No. 4 in G Major, BWV 1049: II. Andante
    00:51:04 Brandenburg Concerto No. 4 in G Major, BWV 1049: III. Presto
    00:55:39 Brandenburg Concerto No. 5 in D Major, BWV 1050: I. Allegro
    01:05:26 Brandenburg Concerto No. 5 in D Major, BWV 1050: II. Affettuoso
    01:11:08 Brandenburg Concerto No. 5 in D Major, BWV 1050: III. Allegro
    01:16:20 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: —
    01:22:17 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: II. Adagio ma non tanto
    01:27:00 Brandenburg Concerto No. 6 in B-Flat Major, BWV 1051: III. Allegro
    01:32:41 Violin Concerto in E Major, BWV 1042: I. Allegro
    01:39:51 Violin Concerto in E Major, BWV 1042: II. Adagio
    01:46:38 Violin Concerto in E Major, BWV 1042: III. Allegro assai
    01:49:35 Violin Concerto in A Minor, BWV 1041: I. —
    01:53:23 Violin Concerto in A Minor, BWV 1041: II. Andante
    01:59:41 Violin Concerto in A Minor, BWV 1041: III. Allegro assai
    02:03:12 Violin Concerto in D Minor, BWV 1052: I. —
    02:10:38 Violin Concerto in D Minor, BWV 1052: II. Adagio
    02:17:22 Violin Concerto in D Minor, BWV 1052: III. Allegro
    02:25:04 Violin Concerto in G Minor, BWV 1056: I. —
    02:28:30 Violin Concerto in G Minor, BWV 1056: II. Largo
    02:31:06 Violin Concerto in G Minor, BWV 1056: III. Presto
    02:34:48 Concerto for Two Violins and Orchestra in E Major, BWV 1043: I. Vivace
    02:38:58 Concerto for Two Violins and Orchestra in E Major, BWV 1043: II. Largo ma non tanto
    02:46:09 Concerto for Two Violins and Orchestra in E Major, BWV 1043: III. Allegro
    02:51:19 Harpsichord Concerto No. 1 in D Minor, BWV 1052: I. Allegro
    02:59:17 Harpsichord Concerto No. 1 in D Minor, BWV 1052: II. Adagio
    03:04:48 Harpsichord Concerto No. 1 in D Minor, BWV 1052: III. Allegro
    03:12:52 Harpsichord Concerto No. 2 in E Major, BWV 1053: I. —
    03:21:00 Harpsichord Concerto No. 2 in E Major, BWV 1053: II. Siciliano
    03:25:30 Harpsichord Concerto No. 2 in E Major, BWV 1053: III. Allegro
    03:32:01 Harpsichord Concerto No. 3 in D Major, BWV 1054: I. —
    03:39:50 Harpsichord Concerto No. 3 in D Major, BWV 1054: II. Adagio e piano sempre
    03:45:03 Harpsichord Concerto No. 3 in D Major, BWV 1054: III. Allegro
    03:47:55 Harpsichord Concerto No. 4 in A Major, BWV 1055: I. Allegro
    03:52:22 Harpsichord Concerto No. 4 in A Major, BWV 1055: II. Larghetto
    03:57:52 Harpsichord Concerto No. 4 in A Major, BWV 1055: III. Allegro ma non tanto
    04:02:03 Harpsichord Concerto No. 5 in F Minor, BWV 1056: I. —
    04:06:31 Harpsichord Concerto No. 5 in F Minor, BWV 1056: II. Largo
    04:08:53 Harpsichord Concerto No. 5 in F Minor, BWV 1056: III. Presto
    04:12:31 Harpsichord Concerto No. 6. in F Major, BWV 1057: I. —
    04:19:46 Harpsichord Concerto No. 6. in F Major, BWV 1057: II. Andante
    04:23:28 Harpsichord Concerto No. 6. in F Major, BWV 1057: III. Allegro assai
    04:28:39 Harpsichord Concerto No. 7 in G Minor, BWV 1058: I. —
    04:32:49 Harpsichord Concerto No. 7 in G Minor, BWV 1058: II. Andante
    04:38:59 Harpsichord Concerto No. 7 in G Minor, BWV 1058: III. Allegro assai
    04:43:00 Concerto for 2 Harpsichords in C Minor, BWV 1060: I. Allegro
    04:48:31 Concerto for 2 Harpsichords in C Minor, BWV 1060: II. Largo ovvero adagio
    04:54:15 Concerto for 2 Harpsichords in C Minor, BWV 1060: III. Allegro
    04:58:00 Concerto for 4 Harpsichords in A Minor, BWV 1065: I. —
    05:01:59 Concerto for 4 Harpsichords in A Minor, BWV 1065: II. Largo
    05:04:31 Concerto for 4 Harpsichords in A Minor, BWV 1065: III. Allegro

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    J.S. Bach - Cantata No.106〈Gottes Zeit ist die allerbeste Zeit〉BWV 106 / Gustav Leonhardt

    20:24

    Johann Sebastian Bach (1685~1750)

    《Gottes Zeit ist die allerbeste Zeit》Kantate Nr.106
    Actus tragicus BWV 106 (Funeral Cantata - written in 1708, Mühlhausen)

    1. Sonatina: Molto adagio - 00:00
    2. Chor: Gottes Zeit ist die allerbeste Zeit - 02:38
    3. Arioso: Ach, Herr, lehre uns bedenken - 04:32
    4. Arie: Bestelle dein Haus, denn du wirst sterben - 06:38
    5. Chor: Es ist der alte Bund, Mensch, du mußt sterben! - 07:48
    6. Arie und Chor: Ja, komm, Herr Jesu, komm! - 08:45
    7. Arie: In deine Hande befehl' ich meinen Geist - 11:22
    8. Arioso: Heute wirst du mit mir im Paradies sein - 13:48
    9. Arie und Choral Mit Fried und Freud ich fahr dahin - 14:57
    10. Chor: Glorie, Lob, Ehr und Herrlichkeit - 17:32


    Marcus Klein (boy soprano)
    Raphael Harten (boy alto)
    Marius Van Altena (tenor)
    Max van Egmond (bass)


    Hanover Boys' Choir
    Collegium Vocale, Gent

    Leonhardt Concort
    Gustav Leonhardt, 1928~2012 (conductor)

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    J S BACH Cantata BWV 147 - The Amsterdam Baroque Orchestra & Choir

    32:08

    Conductor: Ton Koopman
    Soprano: Lissa Larsson
    Alto: Elizabeth von Magnus
    Tenor: Lothar Odinius
    Bajo: Klaus Mertens

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    Katarzyna Smolarek plays Fugue BWV 1001 by J. S. Bach on a 2011 Jochen Rothel

    5:52

    Katarzyna Smolarek plays Fugue BWV 1001 by J. S. Bach on a 2011 Jochen Rothel
    VISIT SICCAS GUITARS:


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    J.S. Bach: MAGNIFICAT complete version

    30:12

    Johann Sebastian Bach (1685 - 1750):
    MAGNIFICAT - D-Dur BWV 243 (1723,1730)
    - historically informed performance on period instruments

    Anna Nesyba - Soprano I
    Monteverdichor Würzburg
    Monteverdi Ensemble
    Matthias Beckert (cond.)

    26.10.2014, Neubaukirche, Würzburg, Germany

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    J.S.Bach : Variation Goldberg n°25, Thérémin

    7:18

    Originellement destinées au clavier, les variations Goldberg ont été magnifiquement arrangées pour trio à cordes, par le violoniste Dmitry Sitkovetsky. Son interprétation de la variation n°25 est extraordinaire.
    Au Thérémin, la plus grande difficulté réside dans les intervalles : les chromatismes sont omniprésents... C'est un très bon exercice pour travailler la justesse.
    Il me reste aussi beaucoup de travail pour apprendre à nuancer, révéler toute les subtilités du discours musical. Ici, c'est encore un peu léthargique...

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    JS Bach Harpsichord Concertos BWV 1052-1058

    1:51:41

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    Bach & Zelenka: J.S. Bach: Tönet, ihr Pauken! BWV 214 - Collegium 1704/ Luks

    26:17

    INTRODUCTION (PART 2 OF 2): JOHANN SEBASTIAN BACH: TÖNET, IHR PAUKEN! ERSCHALLET TROMPETEN! (BWV 214):
    (For more details, see part 1 about Zelenka)
    Collegium 1704, conducted by Vaclav Luks. recorded on 20.08.2011 in the Abbatiale Saint-Robert, France, during the 45th Festival de la Chaise-Dieu.

    The Bach & Zelenka -program's main companion pieces:
    -Jan Dismas Zelenka: Te Deum (ZWV 146) for two choirs (1731, NOT 1733 as Mezzo announces on the screen)
    -Johann Sebastian Bach: Tönet, ihr Pauken! Erschallet, Trompeten! (BWV 214), from 1733.
    ___________________________________________________________________

    Orchestration of BWV 214: 3 trumpets, timpani, 2 transverse flutes, 2 oboes, 2 violins, viola, continuo (with organ & bassoon).
    Soloists: Bellona - Goddess of War (Soprano: Blazikova), Pallas - Goddess of Wisdom (Alto: Kukrova), Irene - God of Peace (Tenor: Monti), Fama - God of Fame (Bass: Krejcik).

    Subtitled Drama per Musica and performed on the Birthday (8 December) of Maria Josepha, Princess Elector of Saxony and Queen of Poland.

    1. Choir : Tönet, ihr Pauken ! Erschallet, Trompeten !
    2. Recitative (Tenor) : Heut ist der Tag
    3. Aria (Soprano) : Blast die wohlgegriffnen Flöten
    4. Recitative (Soprano) : Mein knallendes Metall
    5. Aria (Alto) : Fromme Musen ! Meine Glieder !
    6. Recitative (Alto) : Unsre Königin im Lande
    7. Aria (Bass) : Kron und Preis gekrönter Damen
    8. Recitative (Bass) : So dringe in das weite Erdenrund
    9. Choir : Blühet, ihr Linden in Sachsen, wie Zedern !

    SOLOISTS:
    Soprano - Hana Blazikova
    Alto - Marketa Cukrova
    Tenor - Sebastian Monti
    Bass - Marian Krejcik
    _____________________________________________________________________

    Sometimes Johann Sebastian Bach's secular cantata Tönet, ihr Pauken! Erschallet, Trompeten! (BWV 214, dated to 7 December 1733) is mistakenly thought about as a parody variant of his much more famous Christmas Oratorio from 1734/5 (BWV 248). Actually the opposite is the truth. BWV 214 is among Bach's relatively few genuinely original compositions from the 1730s. When people nowadays immediately recognize this juyful, generously scored opening chorus, it is the magnificent Jauchzet, frohlocket!- chorus introducing the Christmas Oratorio they implicitly refer to. Movement 3, Bellona's soprano aria, was in fact the only music NOT recycled from BWV 214 in BWV 248. Commentators suggest that Bach considered this soprano & flute aria to be too extravagant and daring for BWV 248's listeners. Analogue, intricate harmonies with corresponding complexities are often found in the concert's companion piece (ZWV 146, 1731) by Zelenka. Dense movements where vocal and instrumental parts are woven together in intricate patterns, fundamental importance given to older polyphony, as well as frequent use of fugal themes are their exceptional common hallmarks. Likewise, Zelenka recycled much music, e.g. in his other, first Te Deum (ZWV 145, 1724). From their generation, the major composers (Bach, Zelenka, Handel, Vivaldi) were also the greatest recyclists. No contradiction here. Other musical similarities relevant to Vaclav Luks' well-considered concert program are explained more in detail under the related Zelenka video (ZWV 146) (see part 1).
    Despite being termed Drama there is on real plot or action taking place. Four mythological figures - Bellona, Pallas, Irene & Fame - shaped in baroque fashion as allegories of the qualities they traditionally stand for, celebrate and honour the real protagonist's (Maria Josepha) virtues accordingly. All these flattering phrases served a concrete occasional purpose (Birthday here), where individual concerns are connected with current socio-political circumstances. Leipzig's functional counterpart to the Italian serenata?
    Secular cantatas like BWV 214 are typhical in the context of Bach's production in this period, when his mind had moved to Saxony's capital Dresden, although he remained in Leipzig. Even though only BWV 214 was dedicated to Queen Maria Josepha, Zelenka's most important patron, Bach dedicated several similar cantatas to other members of the Royal family at this time. Often he went to the capital to attend or participate in musical performances, and it is reasonable to assume that he took aquired knowledge of the legendary Dresden Court orchestra's abilities into account when composing. Originally, the short version of the famous b-minor Mass (BWV 232a) (Kyrie & Gloria) was performed in the Court Curch in 1733. So, why all these efforts? Like Zelenka, Bach wanted to impress, hoping that the vacant post as Royal Court Kapellmeister for the world's best orchestra would become his... Whether Zelenka inspired Bach to start composing Masses from the 1730s remains a reasonable hypothesis based on circumstantial evidence, but we DO HAVE direct evidence, through son C.P.E. Bach, that they both admired and knew each other personally after his father's Dresden journeys.

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    J.S. Bach - Cantata BWV 108 Es ist euch gut, dass ich hingehe

    18:48

    From the protestant church Trogen in Switzerland
    Choir and Orchestra of the J. S. Bach Foundation
    Rudolf Lutz - conductor
    Soloists
    Margot Oitzinger - alto
    Johannes Kaleschke - tenor
    Peter Harvey - bass

    Johann Sebastian Bach - Cantata BWV 108 Es ist euch gut, dass ich hingehe (It is good for you that I leave)

    0:46 Aria (bass): Es ist euch gut, daß ich hingehe
    4:58 Aria (tenor): Mich kann kein Zweifel stören
    9:05 Recitative (tenor): Dein Geist wird mich also regieren
    9:42 Chorus: Wenn aber jener, der Geist der Wahrheit
    12:02 Aria (alto): Was mein Herz von dir begehrt
    15:20 Chorale: Dein Geist, den Gott vom Himmel gibt

    Subscribe to our channel:

    For further information on the Bach Foundation, go to:
    The complete cantata, introductory workshop and reflection lecture (in German) is available at:

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    La Pasion segun San Mateo de J. S. Bach.

    8:42

    Música religiosa, coral. En este fragmento Jesús es ungido en Betania.

    La Pasión según San Mateo, BWV 244 (título original en latín: Passio Domini Nostri J. C. Secundum Evangelistam Matthaeum; en alemán: Matthäus-Passion; en inglés: St. Matthew Passion) es una pasión oratórica escrita para voces solistas, doble coro y doble orquesta por Johann Sebastian Bach.

    Se estrenó en 1727

    Presenta el sufrimiento y la muerte de Cristo según el evangelio de San Mateo. Con una duración de más de dos horas y media (en algunas interpretaciones incluso más de tres horas), es la obra más extensa del compositor. Es una obra central de la música artística (Hubert Parry la ha definido como el más rico y noble ejemplo de la historia de la música sacra). La Pasión según San Mateo consta de dos grandes partes conformadas por 68 números. El texto del evangelio de San Mateo, capítulos 26 y 27, es cantado literalmente por un evangelista, y las personas de la trama (Cristo, Judas, Pedro, etc.) por los demás solistas. Alrededor del texto bíblico se agrupan coros, corales, recitativos y arias con la intención de interpretar el texto.

    Tras la muerte de Bach, la obra cayó en el olvido (como, en general, toda la obra del compositor) y no fue hasta 1829 cuando el compositor y director Felix Mendelssohn volvió a interpretarla con la Sing-Akademie de Berlín en una versión abreviada. La reinterpretación de esta obra dio inicio a un fuerte interés por el estudio y el análisis de las obras de Bach, particularmente las de gran escala, que ha persistido hasta nuestros días. Tras el redescubrimiento de la obra en 1829 por parte de Mendelssohn, Adolf Bernhard Marx, íntimo amigo por aquella época del compositor, persuadió al editor musical Adolf Martin Schlesinger de emprender la publicación de esa obra, haciendo a la obra maestra de Bach accesible para los académicos por primera vez.4 Hasta el siglo XX, era común que las fiestas del Luteranismo usaran la Pasión de Bach durante los servicios religiosos en la celebración del Viernes Santo.

    La obra está escrita para dos coros, cada uno formado por un grupo de cuatro voces (soprano, contralto, tenor y bajo) y un grupo de instrumentos (2 flautas, 2 oboes, oboe d'amore, cuerdas y bajo continuo). En este sentido se podría hablar de un coro y una orquesta dobles. Además, en los números 1° y 35º aparece una voz extra de sopranos (soprano in ripieno), que comúnmente es cubierta por un coro de niños (en contraposición a las voces femeninas de los dos coros). Sin embargo, esta tradición no corresponde con las intenciones de Bach, puesto que los coros en las iglesias no utilizaban voces femeninas, sino únicamente de niños y de falsetistas y, en este sentido, no distinguían entre las voces de los coros I y II y la de soprano in ripieno (a menos que los dos coros fueran únicamente interpretados por solistas, contrapuestos entonces a los ripienistas).

    El texto del libreto está basado, por una parte, en los capítulos 26 y 27 del evangelio de Mateo en la traducción de Martín Lutero y, por otra parte, en poesías del escritor Christian Friedrich Henrici (también conocido como Picander) y en corales luteranos relacionados con la pasión.

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    J. S. Bach, Prelude BWV 998 by Tatyana Ryzhkova

    4:15

    #bach #tatyanaryzhkova #guitar
    Tatyana Ryzhkova performes Prelude BWV 998 by Johann Sebastian Bach.
    Join me at:

    Scores and Tabs of Your Song by Elton John, arr. Michael Langer:
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    Step By Step Basics of Guitar Technique in 60 Studies (Guitar) by Konrad Ragossnig:
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    And maybe the strings, you asked about:

    Augustine:
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    D'Addario:
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    I record with these microphones (USA):

    Your Coupon for 10% discount on Ergoplay Guitarlift: Tatyana273K9zy+? Please use it in the Ergoplay shop:

    Guitar is made by Michel Brück.

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    JS BACH - AIR ON THE G STRING - WHITWORTH HALL ORGAN - THE UNIVERSITY OF MANCHESTER - JONATHAN SCOTT

    6:05

    JS BACH - AIR ON THE G STRING (Suite in D Major, BWV 1068)
    Arranged and Performed by Jonathan Scott at the organ of Whitworth Hall, The University of Manchester, UK.

    The score of this arrangement is available here:

    Film & Sound by Tom Scott

    For more information about Jonathan Scott please visit:

    Organ by:
    Henry Willis II (1902)
    JW Walker & Sons Ltd (1962/69)
    David Wells Organ Builders Ltd (2014)

    SPECIFICATION

    Pedal
    1 Contra Bass 32
    2 Open Wood 16
    3 Principal 16 from Great Double Open Diapason
    4 Bourdon 16 ext. Contra Bass
    5 Octave 8
    6 Gemshorn 8 (from Positive Gemshorn)
    7 Bass Flute 8 (ext. Bourdon)
    8 Choral Bass 4
    9 Octave Flute 4 (ext. Bourdon)
    10 Mixture IV 19-22-26-29
    11 Trombone 16
    12 Bombarde 16 (from Great Bombarde)
    13 Octave Trombone 8 (ext. Bombarde)
    14 Schalmey 4

    Positive
    15 Gemshorn 8
    16 Bourdon 8
    17 Quintaton 8
    18 Principal 4
    19 Rohrflute 4
    20 Nazard 2 2/3
    21 Octave 2
    22 Block Flute 2
    23 Tierce 1 3/5
    24 Larigot 1 1/3
    25 Cymbal IV 26-29-33-36
    26 Crumhorn 8
    27 Trumpet 8 (from Great Trumpet)
    28 Clarion 4 (from Great Clarion)
    29 Orchestral Trumpet 8
    30 Sub Octave
    31 Tremulant




    Great
    32 Double Open Diapason 16
    33 Open Diapason I 8
    34 Open Diapason II 8
    35 Spitzflute 8
    36 Octave 4
    37 Principal 4
    38 Koppel Flute 4
    39 Super Octave 2
    40 Mixture IV 19-22-26-29
    41 Bombarde 16
    42 Trumpet 8 (ext. Bombarde)
    43 Clarion 4

    Swell (Enclosed)
    44 Geigen Diapason 8
    45 Gedeckt 8
    46 Viola 8
    47 Vox Angelica 8
    48 Geigen Principal 4
    49 Chimney Flute 4
    50 Octave 2
    51 Sesquialtera II 12-17
    52 Mixture III 22-26-29
    53 Bassoon 16
    54 Trumpet 8
    55 Hautboy 8 (ext. Bassoon)
    56 Tremulant
    57 Octave




    Couplers
    Swell to Pedal
    Swell to Great
    Great to Pedal
    Positive to Pedal
    Swell to Positive
    Positive to Great


    Accessories:
    Balanced mechnical swell pedal
    6 pistons to each division
    8 general pistons, plus stepper pistons
    Thumb pistons Sw-Gt, Pos-Gt, Sw-Pos, Sw-Ped, Gt-Ped, Pos-Ped
    6 toe pistons to Swell
    6 toe pistons to Great
    Gt-Ped toe piston

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    J.S.Bach - Matthäus-Passion / La Pasión según San Mateo

    2:44:28

    Johann Sebastian Bach (1685-1750).
    J.S.Bach- Matthäus-Passion / La Pasión según San Mateo, BWV 244
    Una de las más grandes creaciones del espíritu humano.

    Guy de Mey, tenor. Evangelista
    Peter Kooy, bass. Jesus
    Barbara Schlick, soprano
    Kai Wessel, alto
    Christoph Prégardien, tenor
    Klaus Mertens, bass

    De Nederlandse Bachvereniging
    Sacramentotskoor Breda (coro de niños).

    The Amsterdam Baroque Orchestra
    Ton Koopman

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    J. S. Bach Pasión según san Juan BWV 245 Dr. N. Harnoncourt

    1:50:03

    N. Harnoncour y Concentus Musucus de Viena.

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    J.S. Bach - Concerto for Violin E Major BWV 1042 - Live

    17:20

    Eva León (violin) performs the Violin Concerto in E Major (BWV 1042)
    by Johann Sebastian Bach (1685-1750) - Allegro - Adagio - Allegro assai
    Mozart Chamber Orchestra - Horst Sohm (Conductor/Dirigent)

    Katarzyna Kotlega - violin
    Michal Kwasniak - violin
    Marcelina Jankowska - violin
    Iwona Augustyn - violin
    Jessica Glowik - violin
    Natalia Tyranska - violin
    Marta Pawlowska - violin
    Irena Kozak - viola
    Karol Piechowiak - viola
    Katarzyna Beresinska - violoncello
    Ewa Witczak - violoncello
    Krzysztof Sypek - double bass

    Christmas Concerts - Vorweihnachtliche Festkonzerte
    November 2015 in Soltau (Germany) Live in Concert

    Credits:
    to Christian Wolckenhaar, the Mediclin Klinikum Soltau and his Video Team
    Especial agradecimento a Maria Negre (Video Edition)

    #evaleónviolin

    #horstsohm

    All rights: MusicArtstrings/Horst Sohm

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    Aljaž Cvirn plays J. S. Bach - Violin sonata BWV 1001 Siciliana on a 2019 Ennio Giovanetti

    3:23

    Aljaž Cvirn plays J. S. Bach - Violin sonata BWV 1001 Siciliana on a 2019 Ennio Giovanetti
    VISIT SICCAS GUITARS:


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    J. S. Bach - Flute & Viola Sonatas -

    2:19:50

    J. S. Bach
    Flute sonatas
    Maxence Larrieu, flöte
    Rafael Puyana, cembalo
    Wieland Kuijken, viola

    Viola da gamba sonatas
    Rafael Puyana, cembal
    Marçal Cervera, viola

    LIST
    Disc 1

    0:00:00 Sonata for flute & continuo in E minor, BWV 1034
    Adagio ma non tanto
    Allegro
    Andante
    Allegro

    0:12:20 Sonata for flute & continuo in E major, BWV 1035
    Adagio ma non tanto
    Allegro
    Siciliano
    Allegro assai

    0:23:59 Sonata for flute & keyboard in A major, BWV 1032
    Vivace
    Largo e dolce
    Allegro

    0:36:08 Partita for solo flute in A minor, BWV 1013
    Allemande
    Corrente
    Sarabande
    Bourrée anglaise
    Sonata for flute & keyboard in B minor, BWV 1030
    Andante
    Largo e dolce
    Presto - Allegro

    0:47:38 Sonata for flute & keyboard in C major, BWV 1033
    Andante - Presto
    Allegro
    Adagio
    Menuetto 1 - 2

    Disc 2
    1:13:47 Sonata for violin & keyboard in G minor, H. 542.5 (also attributed to J.S. Bach as BWV 1020)
    Allegro
    Adagio
    Allegro

    1:24:26 Sonata for flute & keyboard in E flat major, BWV 1031
    Allegro moderato
    Siciliano
    Allegro

    1:35:26 Sonata for viola da gamba & keyboard No. 1 in G major, BWV 1027
    Adagio
    Allegro ma non tanto
    Andante
    Allegro moderato

    1:48:49 Sonata for viola da gamba & keyboard No. 2 in D major, BWV 1028
    Adagio
    Allegro
    Andante
    Allegro

    2:03:41 Sonata for viola da gamba & keyboard No. 3 in G minor, BWV 1029
    Vivace
    Adagio
    Allegro

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    J. S. Bach Air On The G String one guitar with score and tab

    5:11

    Regalo per il 2015.
    Una accurata interpretazione della famosa aria sulla 4a corda si J. S. Bach per chitarra sola. (sigla di superquark)
    A fine performance of the Air On The G String for one guitar
    Link for download tab and score:

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    J.S. Bach: Das Genie aus der Provinz II

    9:11

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    JS Bach Organ Works,Ton Koopman

    3:36:41

    Fantasia & Fugue in G minor (Great), BWV 542
    Fugue in G minor (Little), BWV 578
    Canzona in D minor, BWV 588
    Prelude & Fugue in B minor,
    Prelude & Fugue in A minor (The Great), BWV 543
    Fantasia & Fugue in C minor, BWV 562
    Prelude & Fugue in C major, BWV 531
    Fantasia in C major, BWV 570
    Passacaglia & Fugue in C minor, BWV 582
    Schubler & Leipzig Chorales

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    J. S. Bach - Works For Lute- Harpsichord

    1:11:35

    Johann Sebastian Bach (1685-1750).
    Works For Lute-Harpsichord.

    1. Prelude in C Minor BWV 999
    2. Präludium und Fantasia in in C Minor BWV 921 / 1121
    Präludium
    Fantasia
    3. Präludium, Fuge and Allegro in E flat Major BWV 998
    Prelude
    Fuga
    Allegro
    4. Suite in E Minor BWV 996
    Praeludio
    Allemande
    Courante
    Sarabande
    Bourrée
    Gigue
    5. Fantasia und Fuge in B flat Major BWV 908
    Fantasia
    Fughetta
    6. Fantasia und Fugue in B flat Major BWV 907
    7. Suite in F Minor BWV 823
    Prélude
    Sarabande en Rondeau
    Gigue
    8. Suite in E Minor BWV 007
    Prelude
    Fuga
    Sarabande
    Gigue
    Double
    Robert Hill, Lute-Harpsichord

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    J.S. Bach / Wer nur den lieben Gott läßt walten, BWV 93

    19:53

    Johann Sebastian Bach (1685-1750)

    Cantata BWV 93: Wer nur den lieben Gott läßt walten (9 July 1724)

    1. Wer nur den lieben Gott läßt walten (Chorus)
    2. Was helfen uns die schweren Sorgen? (Chorale & Recitative: B) 06:01
    3. Man halte nur ein wenig stille (Aria: T) 07:45
    4. Er kennt die rechten Freudesstunden (Aria [Duet]: S, A) 10:51
    5. Denk nicht in deiner Drangsalhitze (Chorale & Recitative: T) 13:17
    6. Ich will auf den Herren schaun (Aria: S) 15:58
    7. Sing, bet und geh auf Gottes Wegen (Chorale) 18:42

    Soloists:
    Soprano - Agnès Mellon
    Alto (Countertenor) - Charles Brett
    Tenor - Howard Crook
    Bass - Peter Kooy

    Performed by Phiippe Herreweghe and the Chorus & Orchestra of Collegium Vocale, Ghent (1993).

    Painting: Laksefiskeren (Salmon Fisherman), Eilif Peterssen

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    Glenn Gould-J.S. Bach-Partita No.4 D major-part 2 of 2

    12:21

    Glenn Gould playing Partita No.4 (BWV 828) by Johann Sebastian Bach (HD video)

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    J.S.Bach - Prelude and Fugue BWV 541

    7:27

    Johann Sebastian Bach (1685 - 1750)

    Prelude and Fugue in G major BWV 541
    (Original Manuscript)

    Ton Koopman
    Dreifaltigkeits Orgel Basilika
    Ottobeuren

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    Glenn Gould-J.S. Bach-The Art of Fugue

    7:49

    Die Kunst der Fugue-Arte della Fuga-Contrapunctus I-IV (HD video)

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    The Amsterdam Baroque Orchestra - Johann Sebastian Bach: Orchestral Suite No. 3 in D major, BWV 1068

    20:48

    The Amsterdam Baroque Orchestra conducted by Ton Koopman plays the 3rd Orchestral Suite (Ouverture) in D major, BWV 1068 (? c. 1729-31), at National Museum Het Loo Palace in Apeldoorn (Netherlands).

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