Johann Sebastian Bach
1685–1750. German composer. in the Baroque Counterpoint tradition.
Supreme master of Baroque counterpoint; sacred and secular output of unparalleled breadth and influence.
Signature works: The Well-Tempered Clavier, Mass in B minor, St Matthew Passion, Goldberg Variations, Brandenburg Concertos.
442 products
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Juvenilia
$20.99CDRamee
Mar 13, 2026RAM2409 -
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J. S. Bach: The Art of Fugue on Bach's Original Instruments
$20.99CDRamee
Jun 20, 2025RAM2406 -
J. S. Bach: The Cello Suites on Six Different Instruments
$29.99CDRamee
Nov 28, 2025RAM2404 -
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A Child’s Dream
$19.99CDSignum Classics
Feb 06, 2026SIGCD895 -
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King of Kings - Bach Orchestral Transcriptions
$21.99CDChandos
Aug 01, 2025CHAN 20400 -
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Organ Recital - Niklas Jahn
$19.99CDNaxos
Aug 22, 20258574649 -
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Water Through Ice - J.S. Bach Suites for Alto Guitar
$25.99CDDiversions
Jan 23, 2026DDV24173 -
J. S. Bach: Suites No. 1, 2, 3 on the Mandocello
$18.99CDDynamic
Jan 30, 2026DYN-CDS8078 -
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Zaytoun
$18.99CDAthene
Oct 31, 2025ATH23027
Juvenilia
LICHT! 800 Years of German Lied / A.L. Richter, Bushakevitz
With the present programme we want to explore the history of the German Lied throughout a period spanning some 800 years, from that first light of dawn represented by the earliest music scored with modern notation - courtly love songs by Walther von der Vogelweide (1170-1230) and Oswald von Wolkenstein (1377-1445) - down to such present-day emissaries of the Lied tradition as Aribert Reimann and Wolfgang Rihm. In between we find: J.S. Bach, Haydn, Mozart, Schubert, Mendelssohn, Hensel, Wolf, Berg, and Eisler.
Bach: Weihnachtsoratorium / Kuijken, La Petite Bande
Reissue. Originally released in 2014. The audio clip below associated with this release is from the original issuance of this title. - ArkivMusic
An account that reflects the latest information and researches on 'period instruments' practice. A 'one to a part' standard - for both voices and instruments.
The Christmas Oratorio is actually not an ‘oratorio’ in the mold of, for instance, Bach’s Ascension Oratorio or Handel’s Messiah. It is a series of 6 separate cantatas, collectively relating the story from Christmas through to Twelfth Night. Bach wrote the work in Leipzig in 1734 and 1735 for Christmas Day (I), Boxing day (II), the third day of Christmas (III), New Year (IV), the Sunday after New Year (V), and Twelfth Night (VI).
As with the Passions, the texts here are drawn from three sources: (1) the evangelical texts (primarily Luke and Matthew) intoned by the Evangelist (tenor) as recitatives, (2) chorales from the Lutheran tradition and (3) free texts for arias and some choral passages, written by the poet Picander.
Bach: Orgelbüchlein, BWV 599-644 / Coen, Corona
Innumerable transcriptions of Bach’s music were made in the 19th and 20th centuries, and many of them bear the signatures of both well-known and lesser-known composers. Among the former are Bruno G. Seidhofler’s notable piano 4-hands version of The Art of Fugue (1937) and the splendid transcription of the Orgel-Büchlein by Bernhard Friedrich Richter (1902) that is featured on this recording. The artists’ approach here – in an advanced vein of historically informed performance – takes inspiration from well-established Bach performance practice and then filters that through two specific media: the chosen instrument of an early 20th-century upright piano and the set of performance indications scrupulously laid down by Richter, which range from tempo indications assigned to each chorale and numerous (yet not too intrusive) agogic signs, to the octave doubling he often added in the soprano and/or bass.
J. S. Bach: The Art of Fugue on Bach's Original Instruments
J. S. Bach: The Cello Suites on Six Different Instruments
J. S. Bach: Concertos for Three & Four Harpsichords
Bach: St. Matthew Passion / Kuijken, La Petite Bande
Read our exclusive interview with Sigiswald, Marie, and Sara Kuijken!
Magnificent and transparent, a recording of the famous masterpiece by J.S. Bach by La Petite Bande and Sigiswald Kuijken. The ensemble has a worldwide reputation of aiming for the most authentic sound possible. Again Kuijken and his group of musicians and vocalists have achieved this the most sublime way! By using authentic instruments and the original way of playing them, both in interpretation and sound quality, La Petite Bande strives to revive baroque music as faithfully as possible without lapsing into rigid academics.
J.S. Bach: Wunderkammer - Harpsichord Works
A Child’s Dream
Bach: Tears from Babylon - Piano Transcriptions / Papastafenou
New piano transcriptions by Greek pianist Alexandra Papastefanou of various Cantatas, an Organ Sonata and a Chorale Prelude by J.S. Bach, all recorded here for the first time. The famous Myra Hess transcription of Bach’s cantata Jesus bleibet meine Freude concludes a fascinating new look at some of Bach’s choral and organ works.
King of Kings - Bach Orchestral Transcriptions
Bach, Hertel & Mozart: Sentiment
Bach: Triple - Concerti & Suites for Chamber Ensemble / Les Muffatti
Three instruments, three emblematic works, and three excellent soloists! With Sophie Gent on violin, Frank Theuns on traverso and Bertrand Cuiller on harpsichord, Les Muffatti offer a fresh interpretation of Bach's Triple Concerto, the Fifth Brandenburg Concerto and the Orchestral Suite in B minor. They provide a variety of orchestral textures, appropriate to the more soloistic style in the Brandenburg Concerto, and the alternating ripieno-tutti settings in the Triple Concerto and the Suite.
While the Fifth Brandenburg Concerto was composed during Bach's time in Köthen and can be regarded as the first piano concerto ever written, the other two works date from his later years in Leipzig. In these works, Bach exploits the full range of compositional possibilities he had acquired during his lifetime; the highly individual combination of contrapuntal artistry and heightened expressiveness already points to the works composed in the last years of his life.
Les Muffatti have been one of the leading artists on the Ramée label from its beginnings; this, their tenth album for Ramée, also marks the label’s 20th anniversary.
J.S. Bach: Lemniscate - The Art of Fugue / Ribeiro, New Collegium
Surrounded by a certain air of mystery and revered as a relic, The Art of Fugue is roundly praised for its complex, mathematical nature. However, these works are also movingly lyrical, and deserve to be enjoyed for their pure beauty, just as one enjoys the rhythms and sounds in the words of a poem, regardless of form and sometimes even meaning. Following the last version of J.S. Bach's autograph manuscript, New Collegium champions in "Lemniscate" the reconciliation and celebration of all these aspects, bringing to the fore both the cerebral brilliance as well as the emotive intensity of this iconic masterpiece, allowing it to be both light and profound. The rich instrumentation of woodwinds, brass, strings and harpsichord allows for expressive characters to be exaggerated, hints at other musical styles, and paints diverse atmospheres, infusing fantasy and life into these twenty fugues and canons.
J.S. Bach & Guerre: profili
With this first record, titled Profili, a collaboration (already consolidated) is born between the record label Digressione Music and the Festival and Competition "Wanda Landowska"; the latter, dedicated to the Harpsichord in all its stylistic and expressive variations, is directed by Margherita Porfido. The three young musicians we present here are the harpsichordists Davide Cicconi and Svitlana Rudd, and the violinist Juliane Oberegger, who were Absolute Winners of the "IX Edition of the 2022 Competition", the first two as W. Landowska Ex Equo Prize - Solo Harpsichord, while the two young musicians together for the Chamber Music section. The composers chosen for this recording are the great German musician Johann Sebastian Bach (1685-1750), whose French Suite No. 2 in C minor BWV 813 and Toccata in D major BWV 912 are performed by harpsichordist Davide Cicconi, and the French composer Elisabeth Claude Jaquet de la Guerre (1666-1729) with the Second Suite for solo Harpsichord (1687), performed by Ukrainian Svitlana Rudd, and the First Suite for Violin and Harpsichord (1707) performed by Rudd and Austrian violinist Juliane Oberegger.
J.S. Bach: Partitas Part 2 - BWV 827, 828 & 829
Organ Recital - Niklas Jahn
Bach, Couperin, Purcell et al: Kagami - Mirror / Uemara, Miranda, Zylberajch
The yamato word for mirror, kagami, can be read as “kami (divinity) surrounding ga (self)”: if you look in a mirror, what you see is your own self surrounded by divinity. Kaori Uemura has called her tale Kagami, because she believes that music reflects the inner depths of the self in the same way as a mirror. Mirrors were used in art as a reflection of what is, and as an allegory of truth and wisdom, a means of knowing yourself as you are. This recording is also a tribute to the Baroque composers who saw music not only as a mirror of divine creation, but equally as a means of expressing human emotions through musical figures which could produce specific affects.
J.S. Bach: Solo
The pandemic in 2020-21 brought little to dispel the gloom among performing musicians. But these months also proved to be a time of reflection and artistic rebirth for many, the arts became a breeding ground for spiritual offspring, and so it proved for me; the genesis of the work you can hear on this album. Finally, there was plenty of time to spend many hours every day working on the project against a background of calm, which made Bach's music all the more comforting!
1723 / Nadia Zwiener, Johannes Lang
Johann Sebastian Bach, the newly appointed Cantor of the Thomaskirche, undertook his first official journey from Leipzig to nearby Störmthal in 1723, where he and his Thomanerchor inaugurated the beautiful new organ built by Zacharias Hildebrandt, a pupil of Silbermann. Bach was thrilled by the instrument’s splendid timbres and tonal beauty. A particularly beautiful violin was made by the German luthier David Tecchler in Rome — 1400 km from Störmthal — during that same year. Both instruments have survived and have been excellently restored; now, three hundred years after their creation, they meet for the first time. Nadja Zwiener, leader of The English Concert and Johannes Lang, the current organist of the Thomaskirche here celebrate the 300th anniversary of these two instruments and Bach’s investiture in Leipzig with a florilegium of works by Bach himself, his contemporaries and his predecessors. A splendidly colourful musical firework!
Bach: Cantatas, Vol. 1 / Cantata Collective
J.S. Bach: (Re)inventions for 2 Pianos / Duo Versinina/Lee
Concept of the album
‘(ré)inventions à deux pianos’ is a complete recomposition for two pianos of J.S. Bach's 15 two-part inventions by Luxembourgish pianist Chiahu ‘Chia-Chia’ Lee, arranged for her duo with Yulia Vershinina-Mukhopadhyay. It's a personal rewriting of Bach's work from the original score in the style of classical music fused with pop, minimalism and smooth jazz. The name of the album is derived from the French title of Bach’s work ‘inventions à deux voix’. Rediscover Bach’s famous work through the lens of this crossover composition which can appeal to connoisseurs and amateurs alike.
About the artists
The piano duo Vershinina/Lee (Yulia Vershinina-Mukhopadhyay & Chiahu ‘Chia-Chia’ Lee) began their collaboration with Rheinberger’s arrangement of Bach’s Goldberg Variations for two pianos, which they have performed in various concert halls in the UK and Luxembourg, including the Philharmonie in 2019, cementing their mutual fascination with Bach’s music.
The pianists met during their studies at the Royal Northern College of Music in Manchester and their enduring friendship has set the ground for an exciting musical partnership. The idea of ‘variation’ has since been a red thread throughout their projects and led both women to constantly seek inspiration outside the conventional repertoire for two pianos. In fact, the duo has made it their aspiration to spread the word about lesser-known music and even write and arrange their own music.
In their recent Actart Concert at Luxembourg Conservatoire Yulia and Chia-Chia focused on works composed in the last 20 years by contemporary women composers.
Water Through Ice - J.S. Bach Suites for Alto Guitar
J. S. Bach: Suites No. 1, 2, 3 on the Mandocello
J.S. Bach: At Arlesheim
Bach: Hebenstreit’s Bach / La Gioia Armonica, Übellacker
J.S. Bach: Friede auf Erden - Rekonstruierte Kantaten, BWV 1
Zaytoun
