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
-
-
-
-
-
-
-
Bach: Trio Sonatas
$21.99CDIBS Classical
Jun 20, 2025IBS-202024 -
-
-
-
-
Gambensonaten 2.0 - for cello & accordion
$24.99CDGramola Records
Jun 20, 2025GRAM99358 -
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
Julian Walder - (R)-Evolution
$16.99CDCapriccio
Sep 05, 2025C3013 -
-
-
-
-
-
-
-
-
-
-
-
Jauchzet & Lobet
Bach: Concertos for Keyboard / Tianqi Du, Bloxham, ASMF
J.S. Bach: The Well-Tempered Clavier, Book 2
J.S. Bach, Linike, Spiess & Stricker: Bach's Virtuosos / Seiler, Köthener BachCollektiv
- Under the direction of violin virtuoso Midori Seiler, this album presents a very lively musical portrait of the former Köthener Hofkapelle, now revived as Köthener BachCollektiv
- With exceptional virtuosos and composers, Bach went to the limits of what was then playable and experimented with instruments, scorings, sounds and musical forms
- New reconstructions of Bach Concertos BWV 1056R & 1064R by Midori Seiler
- Musical treasures and world premiere recordings by A. R. Stricker (Sonata D major), J. Spiess (Concerto E minor) and G. Linike (Suite D major)
J.S. Bach: …con passione
Bach: Trio Sonatas
Bach, Krebs & Zelenka: In allen meinen Taten
After a life dedicated to music, especially of his hometown Dresden and Saxony, world-renown trumpeter Ludwig Güttler concludes his career around his 80th birthday in 2023. It is hard to overestimate his musical, political and social role in Dresden, but also the impact he had on musical research of the Saxonian court, the development of the Corno da Caccia and any other field he touched in his comprehensive life. This edition is devoted to the headline, the motto he found, that constitutes his firm belief: In all that I do, I am guided by the Lord's counsel. he who can accomplish all and owns all, in all things He must, if they are to succeed, give me advice and counsel. The album features not only a meaningful selection of his extensive catalogue but also 5 completely new recordings from the world-famous Dresden Frauenkirche, in which rebuilding he partook such a vital role. It is therefore logical that the DVD features - for the first time on a physical medium - the festive Gala Concert for the Inauguration of this very house of God, where he leads his own Virtuosi Saxoniae and the Vocal Ensemble Saxony in Hasse's "Ultima" Mass.
Bach: Well-Tempered Clavier, Book 1 / Masato Suzuki
Described as the ‘Pianists’ Old Testament’, The Well-Tempered Clavier is a collection of pieces of exceptional artistic quality. No other work from the baroque period has been as valued, performed and studied as this collection whose objectives were musical, theoretical and didactic.
Both books of The Well-Tempered Clavier feature a prelude and fugue in each of the 12 semitones of the chromatic scale, covering each of the 24 major and minor modes – a unique body of works. No two preludes or fugues are alike; they display the full range of contrapuntal devices, while the preludes offer an infinite variety of melodic, rhythmic and constructional possibilities. Each of these pieces demonstrates a mastery of counterpoint that never takes precedence over emotion, beauty and aesthetics. With the two books of The Well-Tempered Clavier, Bach established himself as the unrivalled master of the fugue genre.
Following his recordings of Bach’s concertos for one and two harpsichords (BIS-2041, BIS 2051 and BIS-2481), which reviewers have praised for his unaffected playing and acute musicianship, Masato Suzuki now offers us his take on this Bach monument.
J.S. Bach, Benda, Graun, Telemann & Vivaldi: L'Arte del Virtuoso, Vol. 3
For their 25th anniversary, caterva musica has recorded virtuoso concertos for all instrumental groups in the ensemble. L‘arte del virtuoso (The Art of the Virtuoso) is a four-part series released by MDG. The programme on Vol. 3 includes Franz Benda's dramatic flute concerto, lively chamber music by Telemann, Graun and Vivaldi, as well as a very special rarity: Johann Sebastian Bach's large-scale Sinfonia BWV 1045 with concertante violin.
Bach & the Lautenwerk
Gambensonaten 2.0 - for cello & accordion
Dona Nobis Pacem – A Ballet to Bach's B minor Mass / Hamburg Ballet
Dona Nobis Pacem – give us peace. This title is of great importance to me – even at the risk of seeming naïve; sentimental or even pretentious. In light of the constant and growing tensions in our world; this thought remains an important aspiration and inspires me to approach Johann Sebastian Bach's multifaceted composition with conviction. In my 50th season as artistic director; I consider this creation a great opportunity. John Neumeier; A Historic Document - The film version of “Dona Nobis Pacem” takes us close to the creative evolution of this ballet. Even though there were very high expectations; John Neumeier agreed for the first time in his career to have one of his ballets filmed during the week of the world premiere. Thus; the film became an impressive document of the outstanding quality of the Hamburg Ballet ensemble. It excels not only in terms of technical brilliance; but also expressive intensity and wholehearted dedication.
J.S. Bach: 53°52'15.8"N 10°41'19.9"E - Organ Landscapes / Halubek
The large-scale Bach Organ Landscapes project featuring J.S. Bach’s entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach’s composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach’s original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer’s sound universe. This Album features the legendary Silbermann organ in Freiberg near Dresden.
J.S. Bach: 50°55'12.4"N 13°20'36.7"E - Organ Landscapes / Halubek
The large-scale Bach Organ Landscapes project featuring J.S. Bach’s entire organ oeuvre recorded on a range of instruments aims to provide an overview of organ-playing and organ-building traditions that were key to Bach’s composing. With a keen eye to the unique cultural organ legacy of the places associated with Bach, Halubek has placed Bach’s original sound at the heart of his project. The recordings are accompanied by digital material that offer an almost tactile access to the great composer’s sound universe. This Album features the legendary Silbermann organ in Freiberg near Dresden.
J.S. Bach: Partitas, BWV 825-830 on Lute-Harpsichord / Rübsam
Playwright Luise Gottsched, née Kulmus, in 1732 wrote a letter to her future husband, the writer Johann Christoph Gottsched: ‘The keyboard pieces sent over by Bach… are as difficult as they are beautiful. Even after playing them ten times, they still seem new to me.’ A few years later polymath and Bach’s former pupil Lorenz Christoph Mizler offered the following advice regarding these Clavier-Übung I partitas: ‘Anyone who has difficulties with keyboard fingering will find it difficult to learn the keyboard pieces written by the famous Mr. Bach in Leipzig’.
The name Sinfonia for the first movement in the Partita in C minor is redolent of opening cantata movements and the dotted rhythm of a French overture. The Grave adagio however, is not followed by the fugal fast section you would expect here. This approach was carried out more consistently and stylistically in the Partita in D major, although there the fast section approaches the form of a concerto. Instead, the Grave adagio of the Partita in C minor is followed by a sonata-like movement with an arabesque effect in the upper voice, followed by a lively fugato. As a result, the piece appears in three parts. In contrast, the opening Fantasia in the Partita in A minor is more akin to an invention, showing similarities with the opening section of the second English Suite of the same key. Moreover, since the 17th century, the distinction between the terms ‘Praeludium’ and ‘Praeambulum’ was insignificant. Yet Bach’s delicately sculpted Praeludium in the B flat major Partita, is stylistically very different from the concerto-like Praeambulum of the Partita in G major. Lastly, the Toccata in the Partita in E minor offers rhapsodic-improvisatory sections framing a fugue after the style of Froberg, whose works for keyboard instruments must have been known to Bach.
J.S. Bach: Violin Sonatas & Partitas
Telemann, Graupner & Bach: Leipzig 1723 / Capella Jenensis
1723 marked the beginning of a new era: Johann Sebastian Bach was appointed Thomaskantor in Leipzig and was about to leave his mark on German music history like hardly any other composer. But first, Georg Philipp Telemann, the actual preferred candidate, needed to withdraw from his appointment in favor of Hamburg. Christoph Graupner, the jury's next choice, was unable to take up the post because he didn't receive approval from his employer in Darmstadt. It's hard to believe that Bach was only the third choice!
Immerse yourself in the fascinating application process and slip into the role of the jury!
The OPUS-KLASSIK award-winning ensemble Ælbgut presents an exciting compilation of the three composers' specially prepared trial cantatas. For this, they are working together for the first time with the young baroque specialists from Capella Jenensis.
Listen to the premiere recording of Graupner's "Lobet den Herrn" as well as Telemann's previously unpublished cantata "Ich muß auf den Bergen weinen und heulen" – a true rediscovery. Which candidate would you have chosen?
Bach: Brandenburg Concertos / Sontraud Speidel & Evelinde Trenkner Piano Duo
Works by Bach arranged by Max Reger for piano four hands with the warm; romantic timbre of the magnificent concert grand “Manfred Bürki” Steinway-D from 1901.
J.S. Bach: Klavierbüchlein für Wilhelm Friedemann Bach [Entire] / Yuan Sheng
The Klavierbüchlein für Wilhelm Friedemann Bach (the original spelling: Clavier-Büchlein vor Wilhelm Friedemann Bach) is a collection of keyboard music compiled by Johann Sebastian Bach for his eldest son Wilhelm Friedemann, who went on to become one of Europe's greatest improvising composers. The book has a clear didactic purpose. Most of the pieces included are better known as parts of The Well-Tempered Clavier and the Inventions and Sinfonias. The pieces in the collection are sequenced by complexity, beginning with the simplest works. The works are for “Keyboard” so they may be played on any instrument of the time: organ, harpsichord, spinet, or clavichord. Bach, however, considered the clavichord the best instrument for personal use, because it is able to express most adequately the cantabile way of playing.
Played on the clavichord by Yuan Sheng, “China’s premier interpreter of Bach” (International Piano Magazine) and a pupil of Solomon Mikowsky and Rosalyn Tureck, Yuan Sheng extensively studied the performance practice of Baroque music. Equally at home at the piano as 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).
Vivaldi & Bach: 12 Concertos, Op. 3, "L’estro armonico" / Alessandrini, Concerto Italiano
By its title and its twelve violin concertos, Vivaldi’s L’estro armonico immediately captures the imagination. Rinaldo Alessandrini and his Concerto Italiano, with the addition of high-calibre keyboardists, present the full collection with the six additional adaptations for keyboard by Bach. This Opus 3 published by Vivaldi in 1711 vibrates with the virtues of a poetic energy taken to the highest level of expressivity, embodied in the subtle and virtuosic exchanges between a string orchestra and four, two, then one solo violins. The stylistic principles developed in each piece were completely new and inspired for the time, the virtuosity intense, and the success considerable, rapidly reaching beyond the frontiers of La Serenissima. Which is how Bach, seven years younger than Vivaldi and drawn to the polyphonic dimension of these “multi-voiced” pieces, adapted several of them for organ and harpsichord.
J.S. Bach: Trio Sonatas BWV 525-530 / Tomadin
Highpoints of virtuosity in Bach’s output and the Baroque organ repertoire, in new recordings by an organist with a rich catalogue of success on Brilliant Classics to his credit. As well as a host of obscure composers, Manuel Tomadin has recorded many central figures in the organ repertoire, from Buxtehude to Rheinberger. His Bach discography includes the Leipziger Choräle, BWV 651-667 (94556) and an original ‘Harmonic Seasons’ album (95786) pairing preludes and fugues with chorales that tell a story of rebirth and quiescence through the four seasons. For his latest album, he turns to undisputed highlights of the repertoire: the collection of six sonatas in three parts which Bach compiled in the late 1720s. By then he had settled into his post as Capellmeister in Leipzig, and with this set of works was evidently aiming to leave his contribution to the already rich literature of trio sonatas which had originated some decades earlier in Italy and subsequently spread across Europe, as a means of crossing sacred and secular divides with music conceived for performance by either a single keyboard player or a chamber group of musicians Being Bach, however, he determined to produce not merely another volume in the library. While he drew the material for the trio sonatas from earlier pieces, he refined and adapted them with all the ingenuity and harmonic invention at his disposal, making the finished set among the most demanding pieces ever written for the organ, then or now. The trio sonatas are accordingly often performed by a trio of chamber musicians, but there is a special freshness and virtuosity to be savoured when they are played, as here and as originally intended, by a single organist. As Manuel Tomadin notes in his valuable booklet introduction, the six sonatas run the gamut of expressive feeling, from a gravity of pathos in the central Largo of the C minor Sonata No.2 to the irrepressible joy of the finale to the C major No.5. He has made these new recordings on an instrument with an excellent Bachian pedigree: the Bosch/Schnitger organ (1686/1720) of the Hervormde church in the Dutch town of Vollenhove, and the booklet includes a full specification for the instrument.
The Joannes Daniel Dulcken Harpsichord; Johann Sebastian Bac
Julian Walder - (R)-Evolution
Bach: Cantatas, Motets & Organ Music / Belder, Gesualdo Consort Amsterdam
In 2012-14, these six albums were issued as individual books, in which format they attracted praise both for the depth of their insights and the excellence of the performances: ‘”Elegant” is the word for this production, equally worthy to give or to keep’ Fanfare (Volume 1). This box makes them available once again at a superbudget price, with a new introductory essay by Peter Quantrill in the booklet, and all the original essays republished at brilliantclassics.com. The result is a highly attractive box for both Bach collectors and for newcomers to the inexhaustible treasure-trove that is his output of cantatas.
The selection of repertoire ranges chronologically from early masterpieces such as Christ lag in Todesbanden BWV4 and the Passacaglia BWV582 to the long period of his maturity as Cantor in Leipzig, when Bach wrote five cycles of cantatas for each feast-day in the church calendar. An important feature of Bach in Context is the use of the church organ as both a continuo and solo instrument. Each album opens with a piece of organ music (a Toccata or Prelude) and ends with another voluntary such as the corresponding fugue.
The albums explore resonant themes which run through Bach’s music, in several cases linked by the chorale hymns on which he based organ and vocal fantasias in his cantatas and motets. Led by the experienced Bach performer Pieter-Jan Belder, who has recorded all of the composer’s harpsichord music for Brilliant Classics, these performances feature one voice per part in a tightly knit vocal consort, according to the theories outlined by Joshua Rifkin, and which have since won wide acceptance. The singers are led by Harry van der Kamp, who has recorded cantatas with many other distinguished early-music directors such as Gustav Leonhardt and Ton Koopman.
Bach: Toccatas BWV 910-916 / Rübsam
In contrast to the Well-Tempered Clavier, which remained omnipresent in general musical and cultural consciousness after J.S. Bach's death, and the Goldberg Variations, adorned in the 20th century with an almost mystical aura, Bach’s seven keyboard toccatas have been unjustly relegated to the shadows. Composed between about 1707 and 1713, the Toccatas contain "stylus phantasticus" (fantastical style) elements of the North German baroque and are a delightful mixture of virtuoso, recitative, arioso, concertante, imitative and fugal sections, entirely in the original musical sense of the word toccare, to explore by touch.
This recording also features Bach's Prelude and Fugue BWV 894, probably written during his Weimar phase. The title Prelude is perhaps a little misleading, since it is actually a concerto-like movement, and the fugue is also more like a gigue riding out on a ceaseless hunt. Bach ingeniously reshaped the work into his Triple Concerto BWV 1044 during his Leipzig period, interpolating a second movement taken from the Trio Sonata BWV 527. Wolfgang Rübsam came up with the original idea for this recording of transferring the middle movement of BWV 1044, lifted by Bach from BWV 527, to the equivalent position between the original Prelude and Fugue movements of BWV 894.
Bach demonstrably owned at least two lute-harpsichords, listed in his estate catalogue of 1750. Rübsam’s decision to record all these works on such an instrument has proved extremely fortuitous, especially with regard to the toccatas. The poetic tone of Keith Hill's instrument – sonorous and noble in the lower registers, brilliant in the higher registers – forms an almost perfect synthesis with Rübsam’s imaginative playing.
Bach: Sonatas and Partitas / Biondi
Christmas Concert - Classical to Carols / Helen Donath
Recorded here is something which normally is evanescent over the airwaves or in the Philharmonie am Gasteig: the pre-Christmas evening in the series of Munich Sunday concerts, featuring Helen Donath as one of the most distinguished lyric sopranos of her times, the boys’ choir Regensburg Cathedral Sparrows and the Munich Radio Orchestra under the musical direction of Kurt Eichhorn. On this special evening, excerpts from Händels Messias could be heard, followed by Arcangelo Corelli’s Concerto grosso Op. 6,8 Concerto per la notte di natale, Mozart’s Motette Ave verum corpus KV 618 and the Laudate Dominum from the Vesperae solennes de confessore KV 339, Christmas carols performed a cappella by the Regensburg Cathedral Sparrows (dating mostly from the 17th and 18th century) and Mozart’s Exsultate, jubilate KV 165.
REVIEWS:
Here is a reissue of a Christmas Concert (Weihnachtskonzert) from Munich’s Philharmonie am on December 11, 1988 which begins with a sequence of six Messiah excerpts, starring as soloist the great soprano Helen Donath. It has been issued before – as you can see, the YouTube excerpts have a different cover – and it sees daylight once more to grace Yuletide 2022.
These concerts were a regular event in Munich, with the Regensburger (literally, “Regensburg Cathedral Sparrows”) and the Munich Philharmonic under Kurt Eichhorn. When it comes to Corelli and Handel. This is pretty much good old-fashioned modern instrument interpretation of Baroque music, but injected with energy. Here are a couple of movements from the Corelli Christmas Concerto (Concerto grosso, Op. 6/8) to give you an idea. The Messiah (Messias) excerpts are all sung in German – so “Glory to God” becomes “Ehre sei Gott”; but what a choir this is.
Three Mozart pieces bookend the carol part of the programme: initially the choral Ave verum corpus (K 618), restrained and beautiful, and this, a supremely beautiful “Dominum” from Vesperæ solennes de confessore, K 339. The carols are heartwarming, and performed a cappella. Johann Stobäus’ Nun laßt uns mit den Engelein is a lovely chorale carol, each phrase beautifully sculpted, as are the phrases of Bach’s Ich steh’ an deiner Krippen hier. I admit a weakness for Johannes Eccard’s O Freide über Freund’. But I think it is Adeste fideles, beloved of all, surely, that sums up the glory of this choir.
…and what a perfect way to close, with that lovely Mozart Exultate, jubilate, K 165, festive and joyous (and listen tot he trills in her solo vocal cadenza in the first part. After a tender “Tu Alleluja ,” with Donath’s voice bright and agile, each note like a pinprick of light. There is a rather nice, extended interview with Helen Donath by Bruce Duffie available here, laced with many photos, plus scans of Donath’s famous record sleeves. A real treasure of a disc, and a step back in time! At a generous 77 minutes in duration, this is a lovely, heart-warming Christmas disc.
-- Classical Explorer
J.S. Bach, Decker, Horton & Mendelssohn: On Impulse
Robert Horton; the 2022 First Prize Winner in the American Guild of Organists' National Competition in Organ Improvisation (NCOI); presents a program of organ improvisations modeled after a variety of musical forms; in addition to his adaptations of music of Bach and Mendelssohn for solo pipe organ; on the new Pasi Opus 28 pipe organ at St. George's Episcopal Church; Arlington; Virginia USA.
Puccini, Bach, Villa-Lobos: Metanoia / Galy, Menezes, Ensemble K, Sequenza 9.3
Trinitatis - Bach Cantatas / Gratton, Guillon, Le Banquet Céleste
Ever since the foundation of his ensemble in 2009, Damien Guillon has been forging ahead in the (re)discovery of J. S. Bach’s cantatas. ‘Trinitatis’ is devoted to three cantatas for the season after Trinity, for which Le Banquet Celeste has assembled its most seasoned members. Three very different works in which Bach expresses in various ways the emotion that the subject of the prescribed Gospel for the day stirred in him.
