Inspired by the power and clarity of an extraordinary instrument handcrafted by a legendary guitarrero from Granada, guitar virtuoso Stephen Marchionda presents his very own personal versions of Bach's Sonata in A Minor and the Suite in E Major; and together with the Lute Suite BWV 997 he has created an album that masterfully combines polyphonic intimacy with sonorous opulence.

Pianist Luisa Imorde, deeply inspired by Brahms, presents an album of his works, contextualizing his music with pieces that influenced him, like those by Bach and other Baroque composers. Through her sensible and virtuosic playing she engages with musical traditions, creating a dialogue between compositions and earlier works, just like Brahms had done before her.

San Francisco-based Cantata Collective continues it's exploration of J.S. Bach's major choral masterworks with a third in the ongoing series, pairing the composer's Easter Oratorio and Magnificat. Released in time for Holy Week, both works are lavishly scored and feature some of Bach's most festive and popular vocal writing. With celebrated baroque music specialist Nicholas McGegan on the podium, and a roll call of today's finest early music vocal soloists, this release is poised to build on the auspicious previous releases - a "bold and beautifully constructed" St. John Passion (BBC Radio 3 Record Review), and "an exemplary performance" of the Mass in B Minor (American Record Guide).

Aaron Pilsan completes his recording of the Well-Tempered Clavier, five years after the first volume was praised by critics for it's ardent, accurate and fluid interpretation. Twenty years lie between the two volumes; whilst the first is better known, 'the second book is more playful, but also more accomplished. It goes further harmonically and also demonstrates extraordinary harmonic invention with original and often exotic harmonies. The best example of what differentiates the two books is the fugue in D sharp minor in the second book, a piece whose boldness and harmonic originality never ceases to enthral and astonish me,' says the Austrian pianist, who again demonstrates his fascination for the composer: 'What I love most about Bach's music is that he expresses everything that goes to make up our lives, but in perfect order.'

Following his recording of the first book of Bach's Well-Tempered Clavier released last year (BIS-2621), which was praised as 'a pleasurable benchmark for anyone seeking a traversal that honours every detail of the music' (Gramophone), harpsichordist Masato Suzuki now offers us his interpretation of the second book of Bach's masterly cycle of preludes and fugues. No other works from the baroque period have been as cherished, performed and studied as these collections, the objectives of which were musical, theoretical and didactic. Like the first, the second book of The Well-Tempered Clavier features a prelude and fugue in each of the 12 semitones of the chromatic scale, covering all of the 24 major and minor modes. Produced almost twenty years after the first book, this collection is a sort of follow-up. Though less frequently heard than it's predecessor, it nevertheless contains pieces of great beauty covering a wide stylistic range, and demonstrates a mastery of counterpoint that never outweighs emotion, beauty and aesthetics. Occupying a key position in Bach's output, the second book of the Well-Tempered Clavier points ahead to the major cycles of Bach's last years and presents 'sheer masterpieces from beginning to end', to quote Johann Nikolaus Forkel, the composer's first biographer.

Yasunori Imamura presents the second instalment of Bach's Cello Suites arranged for theorbo (Volume 1 is available on 8.574617). The theorbo is the most important plucked instrument in the lute family, with a range very similar to the cello. Certain technical elements, such as the playing of arpeggios are, in fact, easier on the theorbo whose unique timbres bring a new sonic quality to the performances heard here. These elements are most evident in Suite No. 6, composed for a cello with five strings, but which sounds totally idiomatic when played on the theorbo.

If Bach had written only the Mass in B minor, he would be considered the leading composer of sacred music in the Baroque period. Composed between 1733 and 1749, on the eve of his death, this Great Mass is a musical testament for posterity: the most accomplished synthesis of the aesthetics that Bach mastered to perfection, but also an anthology of his sacred work, with it's perfectly mastered architecture. John Eliot Gardiner delivers a sensitive reading of this pinnacle of Western music, which he has frequented for half a century, with irresistible energy and compelling beauty. The Monteverdi Choir, undoubtedly the best choir in the world, delivers an extraordinary musical performance. This exceptional moment, filmed in the Chapelle Royale at the Ch�teau de Versailles, sumptuously captures the majesty of this masterpiece of sacred art.

On this double album, acclaimed violinist James Ehnes joins forces with Canada's National Arts Centre Orchestra, an ensemble he's had a friendship and artistic partnership with for more than three decades, to fulfil his longtime goal of recording Johann Sebastian Bach's complete violin concertos. Bach's masterful writing for violin is highlighted through several styles and instrumental combinations. This landmark recording showcases James Ehnes's affinity for Canada's National Arts Centre Orchestra and his deep connection to Bach's legacy.

The centerpiece of the Bach collection is a 2015 recording of The Well-Tempered Clavier, the so- called old testament of piano music, a series of 48 preludes and fugues in all of the piano's possible keys. A look at that monumental collection's recorded history could serve as a compendium of piano performance styles through the last 120 years. Unsurprisingly, Biret conforms to none, and perhaps the best way to describe her interpretations is orchestral. As the historically informed Baroque practitioners prescribe, each prelude and fugue certainly has a distinct character, but those long lines emerge with the definition of strings, brass or winds, lush and strident by turn. Trills are mellow and exquisitely shaped, and a wealth of detail is present but never exaggerated. Biret's Bach is a cliff wall to be scaled, a peak to be reached and an aspiration to be achieved.

Though naturally closely associated with the organ and harpsichord, Bach had a special relationship with the violin, his father's instrument, throughout his life. Moreover, we know that he was a highly skilled player, performing regularly at the court of Weimar, and probably also at Kothen and Leipzig. He wrote and transcribed concertos and sonatas for violin, but above all created the unprecedented collection of Sonatas and Partitas for solo instrument. And it is precisely for this vehicle of pure virtuosity that Marco Serino's new project offers four masterpieces, only one of which - the Partita No. 2, the most ambitious work in the group - has survived in a version for violin. Both the first two Suites for cello and the Toccata and Fugue BWV 565, however, already boast an important tradition of violin transcriptions. Pervaded by the virtual polyphony so characteristic of the celebrated Sei solo, these extraordinary pieces, which are presented from a different perspective than usual, celebrate this art of transformation pursued by the artists of the Baroque as an ideal of continuous and fruitful metamorphosis.

The young organist Mona Hartmann (*1994) is currently enjoying a stellar career and has already won numerous national and international competitions. For Chaconne 1927, the musician chose the Walcker organ built in 1927 in St. Antonius in Papenburg. The form of the chaconne runs through the entire album as a leitmotif: It's principle of variation, like that of the passacaglia, allows the Walcker organ with it's 89 stops to be presented in countless, ever-changing sound combinations like no other genre.

Johann Sebastian Bach's stature as a composer of extraordinary talent and widespread influence is so firmly established in Western culture that it is difficult to believe that only 150 years ago his works lay in veritable obscurity, unknown to all but a small group of scholars. It is largely thanks to ohn, who essentially effected a revival of the composer's music through his rediscovery and promulgation of the St Matthew Passion, besides other pieces, that his works are today regarded as pinnacles of music expression. That they are among the most performed and widely attended is in no doubt; in Holland alone, thousands of singers and musicians are involved in dozens of performances of the St Matthew Passion in Holy Week, with hundreds of thousands listening in churches and concert halls, or gathered around the radio, to what has been described as 'the Gospel according to Bach'. Bringing together all of his works, this dynamic 142-CD set offers a resounding impression of this great spirit of our Western culture, presenting dynamic performances - many period-based, many acclaimed by the international press - that are divided according to genre, thus making for a highly user-friendly compendium. The set draws on all periods of his career, tracing the development of a style that was much influenced by contemporary and past fashions but which was always adapted to Bach's own purpose, often far surpassing the models on which he drew. The German composer travelled a great deal from city to city, and the different circumstances of his various positions are reflected in the great range of works comprising his output: while his early years are dominated by much keyboard music, on account of the numerous organist posts he held during this period, later positions at various courts accorded him more personal and artistic freedom - in Cothen, for example, Prince Leopold's passion for music-making and his renowned resident orchestra resulted in a string of unforgettable works including the Brandenburg Concertos, the Solo Cello Suites and the Well-Tempered Clavier Part 1, beside many others. Bach was a master of all genres, whether sacred, secular, instrumental or vocal, and his oeuvre is a rich mixture of severe Baroque craftsmanship and expressive Romanticism. Thomas Zehetmair, Kristof Barati, the Gewandhausorchester Leipzig, Rene Jacobs, Peter Schreier and Lucia Popp are just a handful of the first-class performers and ensembles gracing this set. At the bargain price of �100, it is a collection not to be passed up. Other information: - 142 CDs representing the entirety of Johann Sebastian Bach's oeuvre in historically informed performances. This includes all 200 sacred cantatas recorded for Brilliant Classics on period instruments and sung by the Holland Boys Choir. - For reasons of completeness, pure musical enjoyment, scholarly research, attractive, spacesaving design and price, you cannot afford to be without Brilliant Classics' Complete Bach Edition. - Extensive liner notes, sungs texts and complete tracklisting with performers available for download, by clicking on 'Download booklet' below the cover.

This recital offers a fine mix of Bach's organ works, at larger and smaller scales, on the renowned historical instrument made by Alsatian organ builder Johann Andreas Silbermann of Strasbourg, a master of French baroque organ construction. It follows in a distinguished line of recordings of Bach made in the extraordinary acoustic of the Arlesheim Cathedral, by such luminaries as Walter Kraft, Karl Richter and Lionel Rogg. Situated just outside the city of Basel, the village of Arlesheim grew up around it's Cathedral, which was the church of the displaced cathedral chapter of the Diocese of Basel from 1679 to 1792. The first three years of this tenure saw the Bishop build not only the cathedral, but also a complete town centre with houses for the advisors and the administration of the See, using architect Franz Demess. A total refurbishment and enlargement of the Cathedral was begun in 1759, culminating in the installation of the Silbermann organ two years later. The organ builder was included in the renovation's planning from the start, such that modifications to the Cathedral's architecture were made with a view to enhancing the nave's musical acoustics. The instrument was restored by Metzler in 1959-62 and then again in 2005 by Gaston Kern. It is an example of the fusion of French and German organ building styles. Other information: - Recorded July 2012 in Arlesheim (Switzerland) - Booklet in English contains liner notes by the organist, a description of the organ with stop list, and a profile of the artist - This 2-CD set presents organ works by Johann Sebastian Bach, played on the Silbermann organ in the Dom of Arlesheim. - This organ in the Dom of Arlesheim is a masterpiece of Baroque organ building, built by Johann Andreas Silbermann in 1761. Located in the Arlesheim Cathedral (Dom) near Basel, Switzerland, it is one of the finest examples of Silbermann's work and one of the most historically significant organs in Europe. The organ is known for it's rich tonal qualities, combining both French and German influences, typical of Silbermann's style. It's elaborate case, decorated with gold leaf and intricate carvings, complements the interior of the Dom, enhancing the spiritual atmosphere during services and concerts. Despite restorations over the centuries, the organ retains much of it's original pipework and mechanical structure, ensuring an authentic sound. - The program includes favorite organ works, including the famous Toccata & Fugue BWV565, 3 Concerto transcriptions by Vivaldi, the Trio Sonata BWV 530 and several Choralvorspiele. - Played by Italian master organist Ivan Ronda, internationally acclaimed by guest appearances in such venues as Westminster Abbey and King's College Cambridge.

Hardly any other keyboard instrument is as multi-faceted in it's expression and affect as the clavichord. The extremely simple, direct action allows for the finest nuances - even vibrato is possible. Lea Suter showcases these unique capabilities, demonstrating the wealth of inspiration in such well-known works as Chromatic Fantasia and Fugue, Partita in E Minor and even the grandiose Chaconne in D Minor.

This seventh instalment of Masaaki Suzuki's critically acclaimed series of the complete organ works by Johann Sebastian Bach includes eleven pieces from a manuscript known as the Leipzig Chorales. Conceived around 1739, this collection contains no new compositions, but rather 'reworkings' of organ chorales dating from the years 1708-17, when Bach was in Weimar. The chorale arrangements are based on established Lutheran melodies that particularly appealed to Bach. Bach took great care with this project, selecting the best of his organ music from earlier in his career, and saw it as his legacy for the future. This recording also includes the six Schubler Chorales (named after the collection's publisher), which take chorales he had already included in his religious cantatas and adapt them for the organ. Together with the Orgel-Buchlein and the third book of the Clavier-ubung, the Leipzig Chorales and the Schubler Chorales represent the pinnacle of Bach's sacred organ music. On this recording, Masaaki Suzuki plays the Arp Schnitger organ of the Martinikerk in Groningen, the Netherlands, one of the largest and most famous baroque organs in Northern Europe. Arp Schnitger was the leading organ builder in northern Germany in the seventeenth century, and his admirers included Buxtehude, Handel and Bach himself.