Bach's 15 two-part Inventions and the 15 three-part Sinfonias played an important role in Bach's teaching. These pieces, although today mainly associated with basic keyboard training, are not at all easy and in fact are sophisticated, small-scale masterpieces. They were not composed simply to provide technical training in keyboard playing but, perhaps more important, to teach keyboard players how to compose. In 1720, Bach's oldest son Wilhelm Friedemann (1710-84) was already of an age appropriate for introducing him into the family trade of musician. So Bach started for him a music notebook: a Clavierbüchlein which included these Inventions and Sinfonias. In learning and playing these works, Bach affirmed, a diligent student would be taught "a clear manner for playing not only in two voices but also in three obbligato parts and, furthermore, not only how to invent good musical ideas [inventiones] but also how to develop these well. And above all, how to achieve a cantabile manner of playing, and additionally to obtain a strong foretaste of Composition. " Wolfgang Rübsam is internationally known as an authoritative Bach interpreter, from recordings of the organ and harpsichord on several different labels. This new recording is played on a lute-harpsichord, an instrument that Bach would have had at home for both music-making in the family and for teaching. The touch required and the sonority produced is delicate, subtly shaded, and closely related in it's effect to the music of Bach's French contemporaries, whose music he knew well, such as François Couperin, Jean-Philippe Rameau, and Louis Marchand. The sound is warmer, as it has gut strings and no dampers. "These lovely performances memorably showcase Rübsam's sensitive and poetic side. Recommended. Performance: 9," wrote Jed Distler of ClassicsToday. Com about the earlier issue of Rübsam's recording of Bach's French Suites (BC 96227).

At the age of 15, Johann Sebastian Bach attended the Latin school at St. Michael's Monastery in Luneburg for two years. There is also evidence of at least one trip to Hamburg during this time. The young Bach must have been impressed and inspired by the North German music scene with it's large organs and independent pedals, the diverse reed stops, the clear and "sharp" mixtures and, last but not least, his musical experiences in Hamburg's Gansemarkt Opera House. Bach's chorale partitas bear clear traces of the North German environment, for example in the operatic-ariose elaborations with French ornaments or in the very individual virtuoso arrangements of the variations, which suggest the text interpretations of individual song verses. In contrast to this is the Orgelbuchlein, composed in the somewhat later Weimar years, which forms the foundation for Bach's monothematic composition: Here, the sound of a chorale is formed using just one characteristic motif. The roots of this compositional aesthetic can be traced back to Bach's early encounter with Georg Bohm in Luneburg. The history of the large organ in St. Michael's, which can be traced back to the 15th century, is eventful: in 1708 the Schnitger pupil Matthias Dropa built a new organ and extended the existing instrument by Niehoff (1553) - the young Bach may have been able to follow the plans. After numerous alterations, the current specification corresponds to that of 1708, and a precise historical restoration is currently being planned. The tremendous richness of color and the tonal spirit of the Baroque period can be clearly heard despite the equal temperament. The Klapmeyer organ in Altenbruch (1730), on which Dropa also worked from 1697-1700, gives an authentic impression of the sound of this organ landscape in Luneburg thanks to the restoration by Jurgen Ahrend (2004). The specifics of the historical sounds become tangible when comparing the two instruments.

For more than twenty years, Haruki Murakami's novels have captivated him time and again: for pianist and composer Tim Allhoff, works such as Kafka on the Shore, 1Q84, and Naoko's Smile are more than mere literature-they are inspiration, guidance, and an enigmatic mirror of his own emotional world. With his new solo album Between Here and Nowhere, which will be released on May 15, 2026, by Neue Meister and is now the eleventh album in his discography, Allhoff has created a musical homage to the cult Japanese author, whose books have long since become a soundscape in their own right.

For more than twenty years, Haruki Murakami's novels have captivated him time and again: for pianist and composer Tim Allhoff, works such as Kafka on the Shore, 1Q84, and Naoko's Smile are more than mere literature-they are inspiration, guidance, and an enigmatic mirror of his own emotional world. With his new solo album Between Here and Nowhere, which will be released on May 15, 2026, by Neue Meister and is now the eleventh album in his discography, Allhoff has created a musical homage to the cult Japanese author, whose books have long since become a soundscape in their own right.

In this album Bach's famous Goldberg Variations are newly arranged for Saxophone, Cello and Accordion. With Asya Fateyeva and Eckart Runge two renowned Berlin Classics artists get together, joined by accordionist Andreas Borregaard. Asya Fateyeva has brought the saxophone into the spotlight through her excellent recordings, new arrangements and concerts for her instrument as well as impressive media attention (including her own TV documentary on ARTE). Eckart Runge was founding member of the Artemis Quartet; he is also an acclaimed soloist and has already released several solo albums on Berlin Classics.

Anyone familiar with Apollo's Fire will recognise the exceptional baroque orchestra's engaging and entertaining principal cellist Rene Schiffer. Featured on dozens of the Apollo's Fire recordings, Rene steps into the spotlight for his solo debut recording with a meticulous rendering of that pillar of the baroque repertoire, J. S. Bach's Six Suites for Solo Cello. Deploying different instruments - a 1768 Benoit Fleury cello for the first four suites, an anonymous late 18th century violoncello piccolo with an added string for the fifth (in his own arrangement) and sixth - and multiple tunings, Rene's distinctive interpretations are in harmony with his comprehensive and probing liner notes which abound with theories and intellectual insights.

James McVinnie brings Johann Sebastian Bach's monumental Clavier-ubung III to life in a recording that captures both it's technical brilliance and profound spiritual depth. Bach's 1739 collection, his first published volume of organ music, is a masterful synthesis of compositional technique, theological meditation, and musical expression. With twenty-seven works, including chorale preludes, duets, and the majestic opening Prelude and closing Fugue, the collection is a rich musical exploration of Lutheran faith, the doctrine of the Holy Trinity, and the artistry of counterpoint at it's most sublime. From the intricate contrapuntal pairs of the Catechism chorales to the flowing bass lines of Christ, unser Herr, zum Jordan kam, and the transcendent final Fugue in E flat, McVinnie navigates Bach's towering architecture with clarity, precision, and sensitivity. This recording highlights the cosmopolitan textures, theological symbolism, and emotional resonance that make Clavier-ubung III a pinnacle of the organ repertoire. With insight drawn from decades of study and performance, McVinnie offers a journey into Bach's musical universe, where faith, intellect, and artistry converge in works of extraordinary beauty and enduring power. James McVinnie made his PENTATONE debut in January 2025 with the album Dreamcatcher.

Baroque mastermind Jörg Halubek finishes his journey around the great historic organs of Germany. The final installment of his series Organ Landscapes on vinyl. Halubek plays the Silbermann organ (1710-1714) in the Dom St. Marien Church in Freiberg, the Hildebrandt organ (1746) in St. Wenzel Church in Naumburg, and in the St. Johannis Church in Lüneburg.

With Organ Landscapes X (Leipzig), renowned organist and Baroque specialist Jörg Halubek concludes his acclaimed album series Organ Landscapes. The tenth and final chapter of a fascinating journey of discovery to Germany's great historic organs. The crowning finale takes us to what is probably the most important place in organ history: St. Thomas Church in Leipzig, where Johann Sebastian Bach worked and made music history. Here, the magnificent Sauer organ (1889/1908) resounds-an instrument of unique tonal depth, which Halubek brings to life with masterful sensitivity and Baroque expressiveness. This album is not only a musical highlight, but also a worthy conclusion to an ambitious project that celebrates the diversity and beauty of the German organ landscape.

The soundboard is painted with flowers, fruits, and animals and decorated with a typical light-blue ornamental border. Around the soundboard, the walls are adorned with block-printed wallpaper. The lid contains a landscape painting, which was added later, an idyllic stream landscape with four staffage figures: The observer watches a boy gazing intently into the water, a young woman carrying provisions or something similar home, and a couple, who are also only visible from behind. A bridge and a mill enliven the rural scene. If the corresponding technical terms "soundboard," "ornamental border," or "lid" were missing, the reader would hardly associate this vivid, florid description with a keyboard instrument. In such a manner, the renowned harpsichordist and expert in historical performance practice and basso continuo, Wolfgang Brunner, describes the instrument dated 1628 by Andreas Ruckers, from the Flemish harpsichord-making dynasty of the Ruckers family, which is heard on this recording featuring the six French Suites by J. S. Bach.

Completed: The first Leipzig cantata cycle. "Hans-Christoph Rademann's interpretation with the Gaechinger Cantorey combines precision with emotional depth, transforming each cantata into it's own little magical world full of sensually charged spirituality. The choir is agile, precise, confident, balanced and has a beautiful sound." FonoForum

Music that transcends the bounds of time. "For me, the finest music exists in an abstract spiritual world that is inspired by the instruments at hand, but by no means determined by them. Bach had few qualms about rewriting pieces for other instruments as he saw fit, and with many musical ideas, in contrast to virtuosos of the Romantic era, for example, one gets the impression that they were hardly influenced by the constraints of the instruments available. It's like a spirit realm, a large white hall of tones, sounds and voices. That's another reason why I found it so interesting from the outset to collaborate with you on this recording and turn this dream project into reality." - Yorck Kronenberg

Following the success of Bach: Tenor Arias (2020), tenor Leif Aruhn-Solén and Göteborg Baroque under the direction of Magnus Kjellson return with a new recording: Bach: Tenor Arias, Vol. 2. This album presents twelve more tenor arias from Johann Sebastian Bach's vast cantata output-a repertoire rarely heard in concert halls. With these carefully curated selections, the recording sheds new light on Bach's extraordinary vocal writing for the tenor voice and highlights gems that, despite their brilliance, have long remained in the shadow of his more familiar works. For over 25 years, Leif Aruhn-Solén has been in demand internationally with a special focus on baroque repertoire, and Göteborg Baroque has established itself for more than 20 years as one of Sweden's leading baroque ensembles. Together they continue their exploration of Bach's endlessly rich musical universe.

Bach: Tenor Arias Johann Sebastian Bach wrote more than 200 cantatas. This recording explores a selection of 12 tenor arias from his cantatas, ranging in instrumentation from rich tutti orchestra to intimate obbligato instruments. Leif Aruhn-Solén has been in demand internationally as a tenor in the field of early music for over 20 years. He is an acclaimed Evangelist and tenor soloist in Bach's oratorios and cantatas with both modern symphony orchestras as well as some of the world's foremost baroque orchestras: the Camerata of St. John, Brisbane; the Netherland Bach Society; the City of Birmingham Symphony Orchestra; Concerto Copenhagen; the Oslo Philharmonic; New Trinity Baroque, Atlanta. Göteborg Baroque has established itself as one of the leading Scandinavian baroque ensembles. Founded in 2003 by it's artistic director Magnus Kjellson, who conducts the ensemble from the keyboard of an organ or a harpsichord in a historically informed way, the ensemble regularly performs important and well-known works as well as re-premiering works that have been ignored or forgotten for hundreds of years. The recording was made possible thanks to a generous donation by Alfred Hagen and through the joint generosity of more than 160 individuals in an unprecedented Swedish crowdfunding campaign for a classical music recording.

The tracks of this disc contain equally as many sensitive palimpsests (elaborations on an earlier composer's style) through which other emotions vibrate. The transcriptions they present only depart from the letter to better reveal-and revere-it's spirit. Our greatest wish would be that what these admirable pieces lose in authenticity, they recover thanks to the enthusiasm, fervor, and love that have guided us throughout our work. Because, in this field precisely, it is less a question of proving than of experiencing.

With his concept album PEACE, renowned Austrian violinist and composer Yury Revich (-1991) invites listeners on a journey through the world to explore inner and universal peace through the voices of composers from different backgrounds and cultures. The consistently melodious program also includes compositions by Yury Revich himself: his Impressions - short, connecting pieces of music created especially for this project - as well as two original poems, act as conceptual bridges within the chapters of the album and shape PEACE into a coherent musical narrative. Sensitively interpreted by Yury Revich together with accordionist Basha Slavinska and pianists David Chen and Volodymyr Borodin, the album acquires a special artistic depth and coherence.

It was in 1747 that Johann Sebastian Bach received an invitation from King Frederic II of Prussia. Bach travelled with Wilhelm Friedmann - his eldest son - to Potsdam, where Carl Philipp Emanuel, his second eldest son, was accompanist to the king's court. This was the famous visit during which Johann Sebastian improvised a ricercar or fugue in three voices on a theme supplied by the monarch and later led him to compose the Musical Offering. This recording presents sections of Bach's Musical Offering, including the Trio Sonata, side by side with Trios by both Wilhelm Friedemann and Carl Philip Emanuel. The intention was to shed light on the familial character of Bach's visit to Potsdam and Berlin in 1747 and it's musical consequences. The importance of this gathering between the three most famous members of the Bach family and the impact it had on their respective lives and careers cannot be overestimated. For Johann Sebastian himself, however, this was to be brief: he died three years later in 1750.

Daniel Muller-Schott ranks among the most distinguished cellists of our era, captivating audiences on the world's leading concert stages. In this remarkable recording, Daniel Muller-Schott blends masterful cello artistry with a deeply personal musical journey. Together with Irina Zahharenkova and Anderson Fiorelli, he brings works by Bach, Vivaldi, Geminiani and Boccherini to life - performed on the very harpsichord his mother played, whose sound has accompanied him since childhood. The sonatas unfold with a captivating mix of Baroque elegance, emotional warmth and technical brilliance. Each interpretation reflects intimacy, nostalgia and the timeless power of music. An album that resonates: authentic, poetic, and radiant with Baroque expressiveness.