Johann Sebastian
Bach
1685 - 1750
Complete works
Keyboard works
Johann Sebastian Bach composed cantatas, motets, masses, Magnificats, Passions, oratorios, four-part chorales, songs and arias. His instrumental music includes concertos, suites, sonatas, fugues, and other works for organ, harpsichord, lute, violin, cello, flute, chamber ensemble and orchestra.
Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred cantatas of which around two hundred survive.
There are over 1000 known compositions by Bach. Nearly all of them are listed in the Bach-Werke-Verzeichnis (BWV), which is the best known and most widely used catalogue of Bach's compositions.
Klavier - Englische Suiten [(BWV 806 - BWV 811) (Cd No.2)]
(00:00:00 - 00:19:07) Suite No.4 F-Dur (BWV 809)
No.1 - Prélude (00:00:00 - 00:04:27)
No.2 - Allemande (00:04:28 - 00:07:15)
No.3 - Courante (00:07:16 - 00:08:46)
No.4 - Sarabande (00:08:47 - 00:12:27)
No.5.1 - Menuett I (00:12:28 - 00:13:35)
No.5.2 - Menuett II (00:13:36 - 00:14:48)
No.5.3 - Menuett I repetatur (00:14:48 - 00:15:59)
No.6 - Gigue (00:16:00 - 00:19:07)
(00:19:08 - 00:37:51) Suite No.5 e-Moll (BWV 810)
No.7 - Prélude (00:19:08 - 00:23:45)
No.8 - Allemande (00:23:46 - 00:26:45)
No.9 - Courante (00:26:46 - 00:28:48)
No.10 - Sarabande (00:28:49 - 00:31:32)
No.11.1 - Passepied I en Rondeau (00:31:33 - 00:32:52)
No.11.2 - Passepied II (00:32:53 - 00:33:43)
No.11.3 - Passepied I repetatur (00:33:44 - 00:35:06)
No.12 - Gigue (00:35:07 - 00:37:51)
(00:37:52 - 01:03:54) Suite No.6 d-Moll (BWV 811)
No.13 - Prélude (00:37:52 - 00:45:03)
No.14 - Allemande (00:45:04 - 00:48:34)
No.15 - Courante (00:48:35 - 00:50:46)
No.16.1 - Sarabande (00:50:47 - 00:53:58)
No.16.2 - Double (00:53:59 - 00:56:22)
No.17.1 - Gavotte I (00:56:23 - 00:57:48)
No.17.2 - Gavotte II (00:57:49 - 00:58:58)
No.17.3 - Gavotte I repetatur (00:58:59 - 01:00:27)
No.18 - Gigue (01:00:28 - 01:03:54)
Klavier - Französische Suiten [(BWV 812- BWV 817) (Cd No.1)]
(00:00:00 - 00:14:04) Suite Nr.1 d-moll (BWV 812)
No.1 - Allemande (00:00:00 - 00:03:48)
No.2 - Courante (00:03:49 - 00:05:42)
No.3 - Sarabande (00:05:43 - 00:08:25)
No.4 - Menuet I (00:08:26 - 00:09:35)
No.5 - Menuet II / Menuet I da capo (00:09:36 - 00:11:13)
No.6 - Gigue (00:11:14 - 00:14:04)
(00:14:05 - 00:29:11) Suite No.2 c-Moll (BWV 813)
No.7 - Allemande (00:14:05 - 00:16:58)
No.8 - Courante (00:16:59 - 00:18:56)
No.9 - Sarabande (00:18:57 - 00:21:43)
No.10 - Air (00:21:44 - 00:23:03)
No.11 - Menuet I (00:23:04 - 00:24:44)
No.12 - Menuet II / Menuet I da capo (00:24:45 - 00:26:48)
No.13 - Gigue (00:26:49 - 00:29:11)
(00:29:12 - 00:44:37) Suite No.3 h-Moll (BWV 814)
No.14 - Allemande (00:29:12 - 00:32:37)
No.15 - Courante (00:32:38 - 00:34:48)
No.16 - Sarabande (00:34:49 - 00:37:27)
No.17 - Anglaise (00:37:28 - 00:39:00)
No.18 - Menuet I (00:39:01 - 00:40:24)
No.19 - Menuet II / Menuet I da capo (00:40:25 - 00:42:09)
No.20 - Gigue (00:42:10 - 00:44:37)
Klavier - Französische Suiten [(BWV 812- BWV 817) (Cd No.2)]
(00:00:00 - 00:14:03) Suite No.4 Es-Dur (BWV 815)
No.1 - Allemande (00:00:00 - 00:02:57)
No.2 - Courante (00:02:58 - 00:04:50)
No.3 - Sarabande (00:04:51 - 00:07:43)
No.4 - Gavotte (00:07:44 - 00:08:57)
No.5 - Air (00:08:58 - 00:09:57)
No.6 - Menuet (00:09:58 - 00:11:33)
No.7 - Gigue (00:11:34 - 00:14:03)
(00:14:04 - 00:32:08) Suite No.5 G-Dur (BWV 816)
No.8 - Allemande (00:14:04 - 00:17:21)
No.9 - Courante (00:17:22 - 00:19:12)
No.10 - Sarabande (00:19:13 - 00:23:22)
No.11 - Gavotte (00:23:23 - 00:24:30)
No.12 - Bourrée (00:24:31 - 00:25:59)
No.13 - Loure (00:26:00 - 00:28:18)
No.14 - Gigue (00:28:19 - 00:32:08)
(00:32:09 - 00:48:08) Suite No.6 E-Dur (BWV 817)
No.15 - Allemande (00:32:09 - 00:35:19)
No.16 - Courante (00:35:20 - 00:36:59)
No.17 - Sarabande (00:37:00 - 00:39:55)
No.18 - Gavotte (00:39:56 - 00:41:06)
No.19 - Polonaise (00:41:07 - 00:42:36)
No.20 - Menuet (00:42:37 - 00:44:03)
No.21 - Bourrée (00:44:04 - 00:45:43)
No.22 - Gigue (00:45:43 - 00:48:08)
Sechs Partiten [(Clavier Übung I BWV 825-BWV 830) (Cd No.1)]
(00:00:00 - 00:19:51) Partita 1 B-Dur (BWV 825)
No.1 - Praeludium (00:00:00 - 00:02:08)
No.2 - Allemande (00:02:09 - 00:06:15)
No.3 - Corrente (00:06:16 - 00:09:15)
No.4 - Sarabande (00:09:16 - 00:14:43)
No.5 - Menuet I + II (00:14:44 - 00:17:23)
No.6 - Gigue (00:17:24 - 00:19:51)
(00:19:51 - 00:40:54) Partita 2 c-Moll (BWV 826)
No.7 - Sinfonia (00:19:51 - 00:24:39)
No.8 - Allemande (00:24:40 - 00:29:46)
No.9 - Courante (00:29:47 - 00:31:56)
No.10 - Sarabande (00:31:57 - 00:35:33)
No.11 - Rondeaux (00:35:34 - 00:37:05)
No.12 - Capriccio (00:37:06 - 00:40:54)
(00:40:55 - 01:12:30) Partita 6 e-Moll (BWV 830)
No.13 - Toccata (00:40:55 - 00:48:14)
No.14 - Allemande (00:48:15 - 00:51:58)
No.15 - Corrente (00:51:59 - 00:56:26)
No.16 - Air (00:56:27 - 00:58:06)
No.17 - Sarabande (00:58:07 - 01:03:55)
No.18 - Tempo di Gavotta (01:03:56 - 01:06:03)
No.19 - Gigue (01:06:04 - 01:12:30)
Sechs Partiten [(Clavier Übung I BWV 825-BWV 830) (Cd No.2)]
(00:00:00 - 00:20:05) Partita 3 a-Moll (BWV 827)
No.1 - Fantasia (00:00:00 - 00:02:13)
No.2 - Allemande (00:02:14 - 00:05:38)
No.3 - Corrente (00:05:39 - 00:08:31)
No.4 - Sarabande (00:08:32 - 00:13:00)
No.5 - Burlesca (00:13:01: - 00:15:05)
No.6 - Scherzo (00:15:06 - 00:16:20)
No.7 - Gigue (00:16:21 - 00:20:05)
(00:20:06 - 00:54:10) Partita 4 D-Dur (BWV 828)
No.8 - Ouverture (00:20:06 - 00:26:41)
No.9 - Allemande (00:26:42 - 00:36:55)
No.10 - Courante (00:36:56 - 00:40:23)
No.11 - Aria (00:40:24 - 00:42:42)
No.12 - Sarabande (00:42:43 - 00:48:38)
No.13 - Menuet (00:48:39 - 00:50:04)
No.14 - Gigue (00:50:05 - 00:54:10)
(00:54:11 - 01:17:33) Partita 5 G-Dur (BWV 829)
No.15 - Praeambulum (00:54:11 - 00:57:00)
No.16 - Allemande (00:57:01 - 01:02:26)
No.17 - Corrente (01:02:27 - 01:04:24)
No.18 - Sarabande (01:04:25 - 01:09:49)
No.19 - Tempo di Minuetta (01:09:50 - 01:11:40)
No.20 - Passepied (01:11:41 - 01:13:15)
No.21 - Gigue (01:13:16 - 01:17:33)
Das Wohltemperierte Klavier [(Teil 1) (Cd. No.1)]
(00:00:00 - 00:03:40) Praeludium & Fuga No.1 C-Dur (BWV 846) *
Praeludium (00:00:00 - 00:01:45)
Fuga à 4 (00:01:46 - 00:03:40)
(00:03:41 - 00:06:46) Praeludium & Fuga No.2 c-Moll (BWV 847) *
Praeludium (00:03:41 - 00:05:07)
Fuga à 3 (00:05:08 - 00:06:46)
(00:06:47 - 00:10:20) Praeludium & Fuga No.3 Cis-Dur (BWV 848) ***
Praeludium (00:06:47 - 00:08:01)
Fuga à 3 (00:08:02 - 00:10:20)
(00:10:21 - 00:17:09) Praeludium & Fuga No.4 cis-Moll (BWV 849) ****
Praeludium (00:10:21 - 00:12:52)
Fuga à 5 (00:12:53 - 00:17:09)
(00:17:10 - 00:20:21) Praeludium & Fuga No.5 D-Dur (BWV 850) **
Praeludium (00:17:10 - 00:18:29)
Fuga à 4 (00:18:30 - 00:20:21)
(00:20:22 - 00:23:40) Praeludium & Fuga No.6 d-Moll (BWV 851) ***
Praeludium (00:20:22 - 00:21:49)
Fuga à 3 (00:21:50 - 00:23:40)
(00:23:41 - 00:29:28) Praeludium & Fuga No.7 Es-Dur (BWV 852) ****
Praeludium (00:23:41 - 00:27:44)
Fuga à 3 (00:27:44 - 00:29:28)
(00:29:29 - 00:37:19) Praeludium & Fuga No.8 es-Moll (BWV 853) ***
Praeludium (00:29:29 - 00:32:47)
[Fuga à 3 (dis-Moll) (00:32:48 - 00:37:19)
(00:37:20 - 00:39:46) Praeludium & Fuga No.9 E-Dur (BWV 854) *
Praeludium (00:37:20 - 00:38:33)
Fuga à 3 (00:38:34 - 00:39:46)
(00:39:47 - 00:42:56) Praeludium & Fuga No.10 e-Moll (BWV 855) **
Praeludium (00:39:47 - 00:41:40)
Fuga à 2 (00:41:41 - 00:42:56)
(00:42:57 - 00:45:03) Praeludium & Fuga No.11 F-Dur (BWV 856) ***
Praeludium (00:42:57 - 00:43:47)
Fuga à 3 (00:43:48 - 00:45:03)
(00:45:04 - 00:51:13) Praeludium & Fuga No.12 f-Moll (BWV 857) ****
Praeludium (00:45:04 - 00:46:58)
Fuga à 4 (00:46:59 - 00:51:13)
*= einmanualiges Cembalo/Harpsichord with one manual/Clavecin à un clavier/Clave mono- manual (Martin Christian Schmidt, nach/after/d'après/según Antonio Migliai, Firenze 1702)
** = zweimanualiges Cembalo/Harpsichord with two manuals/Clavecin à deux claviers/Clave bimanual (Martin Christian Schmidt, nach/after/d'après/según Gottfried Silbermann, um 1740)
*** = Clavichord/Clavicorde/Clavicordio von/by/de Rainer Schütze, Heidelberg
**** = Orgel/Organ/Orgue/Órgano (Hinsz 1769 / Van Dam 1792 / Metzler 1975, Wassenaar-NL)
Das Wohltemperierte Klavier [(Teil 1) (Cd. No.2)]
(00:00:00 - 00:03:49) Praeludium & Fuga No.13 Fis-Dur (BWV 858) ***
Praeludium (00:00:00 - 00:01:47)
Fuga à 3 (00:01:48 - 00:03:49)
(00:03:50 - 00:07:22) Praeludium & Fuga No.14 fis-Moll (BWV 859) **
Praeludium (00:03:50 - 00:04:49)
Fuga à 4 (00:04:50 - 00:07:22)
(00:07:23 - 00:11: 12) Praeludium & Fuga No.15 G-Dur (BWV 860) **
Praeludium (00:07:23 - 00:08:19)
Fuga à 3 (00:08:20 - 00:11:12)
(00:11:13 - 00:14:40) Praeludium & Fuga No.16 g-Moll (BWV 861) *
Praeludium (00:11:13 - 00:13:05)
Fuga à 4 (00:13:06 - 00:14:40)
(00:14:41 - 00:17:57) Praeludium & Fuga No.17 As-Dur (BWV 862) ***
Praeludium (00:14:41 - 00:15:45)
Fuga à 4 (00:15:46 - 00:17:57)
(00:17:58 - 00:2:21) Praeludium & Fuga No.18 gis-Moll (BWV 863) **
Praeludium (00:17:58 - 00:19:36)
Fuga à 4 (00:19:37 - 00:22:21)
(00:22:22 - 00:25:35) Praeludium & Fuga No.19 A-Dur (BWV 864) *
Praeludium (00:22:22 - 00:23:26)
Fuga à 3 (00:23:27 - 00:25:35)
(00:25:36 - 00:32:14) Praeludium & Fuga No.20 a-Moll (BWV 865) ****
Praeludium (00:25:36 - 00:26:42)
Fuga à 4 (00:26:43 - 00:32:14)
(00:32:15 - 00:35:05) Praeludium & Fuga No.21 B-Dur (BWV 866) **
Praeludium (00:32:15 - 00:33:27)
Fuga à 3 (00:33:28 - 00:35:05)
(00:35:06 - 00:40:25) Praeludium & Fuga No.22 b-Moll (BWV 867) ****
Praeludium (00:35:06 - 00:37:44)
Fuga à 5 (00:37:45 - 00:40:25)
(00:40:26 - 00:43:39) Praeludium & Fuga No.23 H-Dur (BWV 868) *
Praeludium (00:40:26 - 00:41:29)
Fuga à 4 (00:41:30 - 00:43:39)
Praeludium & Fuga No.24 h-Moll (BWV 868) *
Praeludium: Andante (00:43:40 - 00:49:14)
Fuga à 4: Largo (00:49:15 - 00:55:24)
*= einmanualiges Cembalo/Harpsichord with one manual/Clavecin à un clavier/Clave mono- manual (Martin Christian Schmidt, nach/after/d'après/según Antonio Migliai, Firenze 1702)
** = zweimanualiges Cembalo/Harpsichord with two manuals/Clavecin à deux claviers/Clave bimanual (Martin Christian Schmidt, nach/after/d'après/según Gottfried Silbermann, um 1740)
*** = Clavichord/Clavicorde/Clavicordio von/by/de Rainer Schütze, Heidelberg
**** = Orgel/Organ/Orgue/Órgano (Hinsz 1769 / Van Dam 1792 / Metzler 1975, Wassenaar-NL)
Das Wohltemperierte Klavier [(Teil 2) (Cd. No.1)]
(00:00:00 - 00:04:54) Praeludium & Fuga No.1 C-Dur (BWV 870) ****
Praeludium (00:00:00 - 00:03:03)
Fuga à 3 (00:03:04 - 00:04:54)
(00:04:55 - 00:09:33) Praeludium & Fuga No.2 c-Moll (BWV 871) **
Praeludium (00:04:55 - 00:07:04)
Fuga à 4 (00:07:05 - 00:09:33)
(00:09:34 - 00:13:03) Praeludium & Fuga No.3 Cis-Dur (BWV 872) ***
Praeludium (00:09:34 - 00:11:10)
Fuga à 3 (00:11:11 - 00:13:03)
(00:13:04 - 00:19:06) Praeludium & Fuga No.4 cis-Moll (BWV 873) *****
Praeludium (00:13:04 - 00:16:50)
Fuga à 3 (00:16:51 - 00:19:06)
(00:24:03 - 00:27:00) Praeludium & Fuga No.5 D-Dur (BWV 874) ****
Praeludium (00:19:07 - 00:24:02)
Fuga à 4 (00:24:03 - 00:27:00)
(00:27:01 - 00:30:36) Praeludium & Fuga No.6 d-Moll (BWV 875) *****
Praeludium (00:27:01 - 00:28:37)
Fuga à 3 (00:28:38 - 00:30:35)
(00:32:49 - 00:34:46) Praeludium & Fuga No.7 Es-Dur (BWV 876) ****
Praeludium (00:30:36 - 00:32:48)
Fuga à 4 (00:32:49 - 00:34:46)
(00:34:47 - 00:41:20) Praeludium & Fuga No.8 dis-Moll (BWV 877) **
Praeludium (00:34:47 - 00:37:55)
Fuga à 4 (00:37:56 - 00:41:20)
(00:41:21 - 00:48:52) Praeludium & Fuga No.9 E-Dur (BWV 878) ****
Praeludium (00:41:21 - 00:45:23)
Fuga à 4 (00:45:24 - 00:48:52)
(00:48:53 - 00:54:59) Praeludium & Fuga No.10 e-Moll (BWV 879) *****
Praeludium (00:48:53 - 00:52:18)
Fuga à 3 (00:52:19 - 00:54:59)
(00:55:00 - 00:59:39) Praeludium & Fuga No.11 F-Dur (BWV 880) ***
Praeludium (00:55:00 - 00:58:00)
Fuga à 3 (00:58:01 - 00:59:39)
(00:59:40 - 01:06:19) Praeludium & Fuga No.12 f-Moll (BWV 881) *****
Praeludium (00:59:40 - 01:04:27)
Fuga à 3 (01:04:28 - 01:06:19)
* = einmanualiges Cembalo/Harpsichord with one manual/Clavecin à un clavier/Clave monomanual (Martin Christian Schmidt nach/after/d’après/según Migliai 1702)
** = zweimanualiges Cembalo/Harpsichord with two manuals/Clavecin à deux claviers/Clave bi-manual (Martin Christian Schmidt nach/after/d’après/según G. Silbermann, Freiberg um 1740)
*** = Clavichord/Clavicorde/Clavicordio
**** = Orgel/Organ/Orgue/Órgano (Hinsz 1769 / Van Dam 1792 / Metzler 1975, Wassenaar/NL)
***** = Hammerflügel/Fortepiano (Jean Tournay im Besitz von/owned by/en possesion du/probieded del Barbara von Negrelli), (Thomas & Barbara Wolf, Washington D.C., nach/after/d’après/según
G. Silbermann 1749, Germanisches Nationalmuseum Nürnberg)
Das Wohltemperierte Klavier [(Teil 2) (Cd. No.2)]
(00:00:00 - 00:05:00) Praeludium & Fuga No.13 Fis-Dur (BWV 882) *
Praeludium (00:00:00 - 00:02:50)
Fuga à 3 (00:02:51 - 00:05:00)
(00:05:01 - 00:10:42) Praeludium & Fuga No.14 fis-Moll (BWV 883) ***
Praeludium (00:05:01 - 00:07:25)
Fuga à 3 (00:07:26 - 00:10:42)
(00:10:43 - 00:14:16) Praeludium & Fuga No.15 G-Dur (BWV 884) **
Praeludium (00:10:43 - 00:12:48)
Fuga à 3 (00:12:43 - 00:14:16)
(00:14:17 - 00:19:57) Praeludium & Fuga No.16 g-Moll (BWV 885) *
[Praeludium (Largo) (00:14:17 - 00:17:20)]
Fuga à 4 (00:17:21 - 00:19:57)
(00:19:58 - 00:26:30) Praeludium & Fuga No.17 As-Dur (BWV 886) *****
Praeludium (00:19:58 - 00:23:56)
Fuga à 4 (00:23:57 - 00:26:30)
(00:26:31 - 00:35:46) Praeludium & Fuga No.18 gis-Moll (BWV 887) **
Praeludium (00:26:31 - 00:30:20)
Fuga à 3 (00:30:21 - 00:35:46)
(00:35:47 - 00:39:07) Praeludium & Fuga No.19 A-Dur (BWV 888) ***
Praeludium (00:35:47 - 00:37:42)
Fuga à 3 (00:37:43 - 00:39:07)
(00:39:08 - 00:44:39) Praeludium & Fuga No.20 a-Moll (BWV 889) *****
Praeludium (00:39:08 - 00:42:56)
Fuga à 3 (00:42:57 - 00:44:39)
(00:44:40 - 00:53:12) Praeludium & Fuga No.21 B-Dur (BWV 890) **
Praeludium (00:44:40 - 00:50:28)
Fuga à 3 (00:50:29 - 00:53:12)
(00:53:13 - 01:00:41) Praeludium & Fuga No.22 b-Moll (BWV 891) ****
Praeludium (00:53:13 - 00:55:59)
Fuga à 4 (00:56:00 - 01:00:41)
(01:00:42 - 01:06:00) Praeludium & Fuga No.23 H-Dur (BWV 892) *
Praeludium (01:00:42 - 01:02:33)
Fuga à 4 (01:02:34 - 01:06:00)
Praeludium & Fuga No.24 h-Moll (BWV 893) **
Praeludium (01:06:01 - 01:08:01)
Fuga à 3 (01:08:02 - 01:09:46)
* = einmanualiges Cembalo/Harpsichord with one manual/Clavecin à un clavier/Clave monomanual (Martin Christian Schmidt nach/after/d’après/según Migliai 1702)
** = zweimanualiges Cembalo/Harpsichord with two manuals/Clavecin à deux claviers/Clave bi-manual (Martin Christian Schmidt nach/after/d’après/según G. Silbermann, Freiberg um 1740)
*** = Clavichord/Clavicorde/Clavicordio
**** = Orgel/Organ/Orgue/Órgano (Hinsz 1769 / Van Dam 1792 / Metzler 1975, Wassenaar/NL)
***** = Hammerflügel/Fortepiano (Jean Tournay im Besitz von/owned by/en possesion du/probieded del Barbara von Negrelli), (Thomas & Barbara Wolf, Washington D.C., nach/after/d’après/según
G. Silbermann 1749, Germanisches Nationalmuseum Nürnberg)
Toccatas (BWV 910 - BWV 916)
(00:00:00 - 00:14:06) Toccata d-Moll (BWV 913)
No.1 - [(Presto) (00:00:00 - 00:02:58)
No.2 - [Thema (Presto) (00:02:59 - 00:06:25)
No.3 - Adagio (00:03:26 - 00:09:38)
No.4 - Allegro (00:09:39 - 00:14:06)
(00:14:07 - 00:24:39) Toccata g-Moll (BWV 915)
No.5 - [(Presto – Adagio) (00:14:07 - 00:15:43)]
No.6 - Allegro (00:15:44 - 00:17:54)
No.7 - Adagio (00:17:55 - 00:19:27)
No.8 - Fuga (00:19:28 - 00:24:39)
(00:24:40 - 00:37:07) Toccata c-Moll (BWV 911)
No.9 - [(Presto) (00:24:40 - 00:25:56)]
No.10 Adagio (00:25:57 - 00:28:13)
No.11 - [Allegro (Fuga) (00:28:14 - 00:31:07)
No.12 - [(Presto – Adagio) (00:31:08 - 00:31:31)]
No.13 - [Allegro (Fuga) (00:31:32 - 00:37:07)]
(00:37:08 - 00:46:21) Toccata G-Dur (BWV 916)
No.14 - [(Presto) (00:37:08 - 00:39:44)]
No.15 - Adagio (00:39:45 - 00:42:28)
No.16 - Allegro e presto (00:42:29 - 00:46:21)
(00:46:22 - 00:53:55) Toccata e-Moll (BWV 914)
No.17 - [(Presto) (00:46:22 - 00:46:55)]
No.18 - Un poco allegro (00:46:56 - 00:48:13)
No.19 - Adagio (00:48:14 - 00:50:26)
No.20 - [Fuga (allegro) (00:50:27 - 00:53:55)]
(00:53:56 - 01:06:29) Toccata fis-Moll (BWV 910)
No.21 - [(Presto) (00:53:56 - 00:55:08)]
No.22 - [(Adagio) (00:55:09 - 00:57:22)]
No.23 - Presto e staccato (00:57:23 - 01:00:22)
No.24 - [(Adagio) (01:00:23 - 01:03:25)]
No.25 - [(Fuga) (01:03:26 - 01:06:29)]
(01:06:30 - 01:18:29) Toccata D-Dur (BWV 912)
No.26 - [(Presto) – Allegro (01:06:30 - 01:09:20)]
No.27 - Adagio (01:09:21 - 01:13:58)
No.28 - [(con discrezione) – Presto (01:13:59 - 01:15:26)]
No.29 - Fuga (01:15:27 - 01:18:29)
Twelve Little Preludes
01. No.01 C major BWV 924
02. No.02 C major BWV 939
03. No.03 C minor BWV 999
04. No.04 D major BWV 925
05. No.05 D minor BWV 926
06. No.06 D minor BWV 940
07. No.07 E minor BWV 941
08. No.08 F major BWV 927
09. No.09 F major BWV 928
10. No.10 G minor BWV 929
11. No.11 G minor BWV 930
12. No.12 A minor BWV 942
6 Little Preludes BWV 933 - 938
1 Little Prelude in C major, BWV 933
2 Little Prelude in C minor, BWV 934
3 Little Prelude in D minor, BWV 935
4 Little Prelude in D major, BWV 936
5 Little Prelude in E major, BWV 937
6 Little Prelude in E minor, BWV 938
Concerti (BWV 972 - BWV 987), Bearbeitungen nach verschiedenen Meistern (CD No.1)
(00:00:00 - 00:08:50) Concerto D-Dur (BWV 972)
nach/after/d’après/según Vivaldi
No.1 - [(Allegro) (00:00:00 - 00:02:27)]
No.2 - Larghetto (00:02:28 - 00:06:06)
No.3 - Allegro (00:06:07 - 00:08:50)
(00:08:51 - 00:16:18) Concerto G-Dur (BWV 973)
nach/after/d’après/según Vivaldi
No.4 - [(Allegro) (00:08:51 - 00:11:35)]
No.5 - Largo (00:11:36 - 00:13:42)
No.6 - Allegro (00:13:43 - 00:16:18)
(00:16:19 - 00:25:18) Concerto g-Moll (BWV 975)
nach/after/d’après/según Vivaldi
No.7 - [(Allegro) (00:16:19 - 00:19:37)]
No.8 - Largo (00:19:38 - 00:23:09)
No.9 - [Giga (Presto) (00:23:10 - 00:25:18)]
(00:25:19 - 00:36:11) Concerto C-Dur (BWV 976)
nach/after/d’après/según Vivaldi
No.10 - [(Allegro) (00:25:19 - 00:29:26)]
No.11 - Largo (00:29:27 - 00:32:41)
No.12 - Allegro (00:32:42 - 00:36:11)
(00:36:12 - 00:43:40) Concerto F-Dur (BWV 978)
nach/after/d’après/según Vivaldi
No.13 - Allegro (00:36:12 - 00:38:48)
No.14 - Largo (00:38:49 - 00:40:54)
No.15 - Allegro (00:40:55 - 00:43:40)
(00:43:41 - 00:55:03) Concerto G-Dur (BWV 980)
nach/after/d’après/según Vivaldi
No.16 - [(Allegro) (00:43:41 - 00:47:51)]
No.17 - Largo (00:47:52 - 00:51:30)
No.18 - Allegro (00:51:31 - 00:55:03)
(00:55:04 - 01:01:52) Concerto C-Dur (BWV 977)
nach/after/d’après/según Vivaldi (?)
No.19 - [(Allegro) (00:55:04 - 00:57:51)]
No.20 - Adagio (00:57:52 - 00:59:23)
No.21 - Giga (00:59:24 - 01:01:52)
(01:01:53 - 01:08:13) Concerto G-Dur (BWV 986)
nach/after/d’après/según Telemann (?)
No.22 - [(Allegro) (01:01:53 - 01:04:03)]
No.23 - Adagio (01:04:04 - 01:05:24)
No.24 - Allegro (01:05:25 - 01:08:13)
(01:08:14 - 01:19:07) Concerto d-Moll (BWV 974)
nach/after/d’après/según A. Marcello
No.25 - [(Andante) (01:08:14 - 01:11:28)]
No.26 - Adagio (01:11:29 - 01:14:58)
No.27 - Presto (01:14:59 - 01:19:07)
Concerti (BWV 972 - BWV 987), Bearbeitungen nach verschiedenen Meistern (CD No.2)
(00:00:00 - 00:10:54) Concerto c-Moll (BWV 981)
nach/after/d’après/según B. Marcello
No.1 - Adagio (00:00:00 - 00:01:47)
No.2 - Vivace (00:01:48 - 00:04:05)
No.3 - [(Adagio) (00:04:06 - 00:06:51)]
No.4 - Prestissimo (00:06:52 - 00:10:54)
(00:12:38 - 00:22:50) Concerto h-Moll (BWV 979)
nach/after/d’après/según Torelli
No.5 - [(Adagio) – Allegro (00:10:55 - 00:12:37)]
No.6 - Adagio (00:12:38 - 00:13:13)
No.7 - Allegro (00:13:14 - 00:16:54)
No.8 - Andante (00:16:55 - 00:17:57)
No.9 - Adagio (00:17:58 - 00:18:39)
No.10 - Allegro (00:18:40 - 00:22:50)
(00:22:51 - 00:31:48) Concerto B-Dur (BWV 982)
nach/after/d’après/según Johann Ernst
No.11 - [(Allegro) (00:22:51 - 00:25:24)]
No.12 - Adagio (00:25:24 - 00:27:23)
No.13 - Allegro (00:27:24 - 00:29:23)
No.14 - Allegro (00:29:24 - 00:31:48)
(00:31:49 - 00:39:03) Concerto d-Moll (BWV 987)
nach/after/d’après/según Johann Ernst
No.15 - Grave (00:31:49 - 00:34:39)
No.16 - [(Un poco) Allegro (00:34:40 - 00:37:02)]
No.17 - Adagio (00:37:03 - 00:37:40)
No.18 - Vivace (00:37:41 - 00:39:03)
(00:44:08 - 00:47:39) Concerto C-Dur (BWV 984)
nach/after/d’après/según Johann Ernst
No.19 - [(Allegro) (00:39:04 - 00:41:59)]
No.20 - Adagio e affettuoso (00:42:00 - 00:44:07)
No.21 - Allegro assai (00:44:08 - 00:47:39)
(00:47:40 - 00:55:23) Concerto G-Dur (BWV 592a)
nach/after/d’après/según Johann Ernst
No.22 - Allegro assai (00:47:40 - 00:51:12)
No.23 - Grave (00:51:13 - 00:53:15)
No.24 - Presto (00:53:16 - 00:55:23)
(00:55:24 - 01:03:20) Concerto g-Moll (BWV 985)
nach/after/d’après/según Telemann
No.25 - [(Allegro) (00:55:24 - 00:58:43)]
No.26 - Adagio (00:58:44 - 01:00:34)
No.27 - Allegro (01:00:35 - 01:03:20)
(01:03:21 - 01:12:48) Concerto g-Moll (BWV 983)
nach/after/d’après/según (?)
No.28 - [(Allegro) (01:03:21 - 01:06:50)]
No.29 - Adagio (01:06:51 - 01:09:42)
No.30 - Allegro (01:09:43 - 01:12:48)
Inventions and Sinfonias [BWV 772-801]
15 INVENTIONS [BC L27–41]
I. Invention in C major (BWV 772)
II. Invention in C minor (BWV 773)
III. Invention in D major (BWV 774)
IV. Invention in D minor (BWV 775)
V. Invention in E-flat major (BWV 776)
VI. Invention in E major (BWV 777)
VII. Invention in E minor (BWV 778)
VIII. Invention in F major (BWV 779)
IX. Invention in F minor (BWV 780)
X. Invention in G major (BWV 781)
XI. Invention in G minor (BWV 782)
XII. Invention in A major (BWV 783)
XIII. Invention in A minor (BWV 784)
XIV. Invention in B-flat major (BWV 785)
XV. Invention in B minor (BWV 786)
15 SINFONIAS [BC L42–L56]
I. Sinfonia No.1 in C major (BWV 787)
II. Sinfonia No.2 in C minor (BWV 788)
III. Sinfonia No.3 in D major (BWV 789)
IV. Sinfonia No.4 in D minor (BWV 790)
V. Sinfonia No.5 in E-flat major (BWV 791)
VI. Sinfonia No.6 in E major (BWV 792)
VII. Sinfonia No.7 in E minor (BWV 793)
VIII. Sinfonia No.8 in F major (BWV 794)
IX. Sinfonia No.9 in F minor (BWV 795)
X. Sinfonia No.10 in G major (BWV 796)
XI. Sinfonia No.11 in G minor (BWV 797)
XII. Sinfonia No.12 in A major (BWV 798)
XIII. Sinfonia No.13 in A minor (BWV 799)
XIV. Sinfonia No.14 in B-flat major (BWV 800)
XV. Sinfonia No.15 in B minor (BWV 801)
Suite in la min BWV 818
Klavier - Englische Suiten [(BWV 806 - BWV 811) (Cd No.1)]
(00:00;00 - 00:24:38) Suite No.1 A-Dur (BWV 806)
No.1 - Prélude (00:00:00 - 00:02:08)
No.2 - Allemande (00:02:09 - 00:06:04)
No.3 - Courante I (00:06:05 - 00:07:37)
No.4.1 - Courante II avec deux Doubles (00:07:38 - 00:09:30)
No.4.2 - Double I (00:09:31 - 00:11:23)
No.4.3 - Double II (00:11:24 - 00:13:22)
No.5 - Sarabande (00:13:23 - 00:17:13)
No.6.1 - Bourrée I (00:17:14 - 00:19:00)
No.6.2 - Bourrée II (00:19:00 - 00:20:20)
No.6.3 - Bourrée I repetatur (00:20:21 - 00:22:10)
No.7 - Gigue (00:22:11 - 00:24:38)
(00:24:39 - 00:45:47) Suite No.2 a-Moll (BWV 807)
No.8 - Prélude (00:24:39 - 00:29:00)
No.9 - Allemande (00:29:01 - 00:32:00)
No.10 - Courante (00:32:01 - 00:33:41)
No.11 - Sarabande (00:33:42 - 00:37:18)
No.12.1 - Bourrée I (00:37:19 - 00:39:21)
No.12.2 - Bourrée II (00:39:22 - 00:40:19)
No.12.3 - Bourrée I repetatur (00:40:20 - 00:42:24)
No.13 - Gigue (00:42:25 - 00:45:47)
(00:45:48 - 01:04:06) Suite No.3 g-Moll (BWV 808)
No.14 - Prélude (00:45:48 - 00:48:54)
No.15 - Allemande (00:48:55 - 00:51:53)
No.16 - Courante (00:51:54 - 00:54:05)
No.17 - Sarabande (00:54:06 - 00:57:31)
No.18.1 - Gavotte alternativement (00:57:32 - 00:59:01)
No.18.2 - Gavotte II ou la Musette (00:59:02 - 00:59:46)
No.18.3 - Gavotte I repetatur (00:59:46 - 01:01:20)
No.19 - Gigue (01:01:21 - 01:04:06)
English Suites
The English Suites, BWV 806–811, are a set of six suites written by the German composer Johann Sebastian Bach for harpsichord (or clavichord) and generally thought to be the earliest of his 19 suites for keyboard, the others being the six French Suites, BWV 812–817, the six Partitas, BWV 825-830 and the Overture in the French style, BWV 831.
These six suites for keyboard are thought to be the earliest set that Bach composed aside from several miscellaneous suites written when he was much younger. Originally, their date of composition was thought to have been between 1718 and 1720, but more recent research suggests that the composition was likely earlier, around 1715, while the composer was living in Weimar.
Bach's English Suites display less affinity with Baroque English keyboard style than do the French Suites to French Baroque keyboard style; the name "English" is thought to date back to a claim made by the 19th-century Bach biographer Johann Nikolaus Forkel that these works might have been composed for an English nobleman, but no evidence has emerged to substantiate this claim.[citation needed] It has also been suggested that the name is a tribute to Charles Dieupart, whose fame was greatest in England, and on whose Six Suittes de clavessin Bach's English Suites were in part based.
Surface characteristics of the English Suites strongly resemble those of Bach's French Suites and Partitas, particularly in the sequential dance-movement structural organization and treatment of ornamentation. These suites also resemble the Baroque French keyboard suite typified by the generation of composers including Jean-Henri d'Anglebert, and the dance-suite tradition of French lutenists that preceded it.
In the English Suites especially, Bach's affinity with French lute music is demonstrated by his inclusion of a prelude for each suite, departing from an earlier tradition of German derivations of French suite (those of Johann Jakob Froberger and Georg Boehm are examples), which saw a relatively strict progression of the dance movements (Allemande, Courante, Sarabande and Gigue) and which did not typically feature a Prelude. Unlike the unmeasured preludes of French lute or keyboard style, however, Bach's preludes in the English Suites are composed in strict meter.
Gavotte from French Suite No. 5
French Suites
The French Suites, BWV 812–817, are six suites which Johann Sebastian Bach wrote for the clavier (harpsichord or clavichord) between the years of 1722 and 1725. Although Suites 1 to 4 are typically dated to 1722, it is possible that the first was written somewhat earlier.
The suites were later given the name 'French' (first recorded usage by Friedrich Wilhelm Marpurg in 1762). Likewise, the English Suites received a later appellation. The name was popularised by Bach's biographer Johann Nikolaus Forkel, who wrote in his 1802 biography of Bach, "One usually calls them French Suites because they are written in the French manner." This claim, however, is inaccurate: like Bach's other suites, they follow a largely Italian convention. There is no surviving definitive manuscript of these suites, and ornamentation varies both in type and in degree across manuscripts. The Courantes of the first (in D minor) and third (in B minor) suites are in the French style, the Courantes of the other four suites are all in the Italian style. In any case Bach also employed dance movements (such as the Polonaise of the Sixth suite) that are foreign to the French manner. Usually, the swift second movement after the Allemande is named either Courante (French style) or Corrente (Italian style), but in all these suites the second movements are named Courante, according to the Bach catalog listing, which supports the suggestion that these suites are "French". Some of the manuscripts that have come down to us are titled "Suites Pour Le Clavecin", which is what probably led to the tradition of calling them "French" Suites.
Two additional suites, one in A minor (BWV 818), the other in E-flat Major (BWV 819), are linked to the familiar six in some manuscripts. The Overture in the French style, BWV 831, which Bach published as the second part of Clavier-Übung, is a suite in the French style but not connected to the French suites. Some manuscripts have movements not found in other copies, which are probably spurious.
The Well-Tempered Clavier
The Well-Tempered Clavier, BWV 846–893, is a collection of two series of Preludes and Fugues in all 24 major and minor keys, composed for solo keyboard by Johann Sebastian Bach. In the German of Bach's time Clavier (keyboard) was a generic name indicating a variety of keyboard instruments, most typically a harpsichord or clavichord – but not excluding an organ either.
Title page of Das Wohltemperierte Clavier, Book I (autograph)
The modern German spelling for the collection is Das wohltemperierte Klavier (WTK; German pronunciation: [das ˌvoːlˌtɛmpəˈʁiːɐ̯tə klaˈviːɐ̯]). Bach gave the title Das Wohltemperirte Clavier to a book of preludes and fugues in all 24 major and minor keys, dated 1722, composed "for the profit and use of musical youth desirous of learning, and especially for the pastime of those already skilled in this study". Some 20 years later Bach compiled a second book of the same kind, which became known as The Well-Tempered Clavier, Part Two (in German: Zweyter Theil, modern spelling: Zweiter Teil).
Modern editions usually refer to both parts as The Well-Tempered Clavier, Book I (WTC I) and The Well-Tempered Clavier, Book II (WTC II), respectively. The collection is generally regarded as being among the most important works in the history of Western classical music.
Composition history
Each set contains twenty-four pairs of preludes and fugues. The first pair is in C major, the second in C minor, the third in C♯ major, the fourth in C♯ minor, and so on. The rising chromatic pattern continues until every key has been represented, finishing with a B minor fugue. The first set was compiled in 1722 during Bach's appointment in Köthen; the second followed 20 years later in 1742 while he was in Leipzig.
Bach recycled some of the preludes and fugues from earlier sources: the 1720 Klavierbüchlein für Wilhelm Friedemann Bach, for instance, contains versions of eleven of the preludes of the first book of the Well-Tempered Clavier. The C♯ major prelude and fugue in book one was originally in C major – Bach added a key signature of seven sharps and adjusted some accidentals to convert it to the required key.
In Bach's own time no similar collections were published, except one by Johann Christian Schickhardt (1681–1762), whose Op. 30 L'alphabet de la musique, contained 24 sonatas in all keys for alto recorder or flute or violin and basso continuo.
Precursors
Although the Well-Tempered Clavier was the first collection of fully worked keyboard pieces in all 24 keys, similar ideas had occurred earlier. Before the advent of modern tonality in the late 17th century, numerous composers produced collections of pieces in all seven modes: Johann Pachelbel's magnificat fugues (composed 1695–1706), Georg Muffat's Apparatus Musico-organisticus of 1690 and Johann Speth's Ars magna of 1693 for example. Furthermore, some two hundred years before Bach's time, equal temperament was realized on plucked string instruments, such as the lute and the theorbo, resulting in several collections of pieces in all keys (although the music was not yet tonal in the modern sense of the word):
a cycle of 24 passamezzo–saltarello pairs (1567) by Giacomo Gorzanis (it) (c.1520–c.1577)
24 groups of dances, "clearly related to 12 major and 12 minor keys" (1584) by Vincenzo Galilei (c.1528–1591)
30 preludes for 12-course lute or theorbo by John Wilson (1595–1674)
One of the earliest keyboard composers to realize a collection of organ pieces in successive keys was Daniel Croner (de) (1656–1740), who compiled one such cycle of preludes in 1682. His contemporary Johann Heinrich Kittel (1652–1682) also composed a cycle of 12 organ preludes in successive keys.
Ariadne musica neo-organoedum, by J.C.F. Fischer (1656–1746) was published in 1702 and reissued 1715. It is a set of 20 prelude-fugue pairs in ten major and nine minor keys and the Phrygian mode, plus five chorale-based ricercars. Bach knew the collection and borrowed some of the themes from Fischer for the Well-Tempered Clavier. Other contemporary works include the treatise Exemplarische Organisten-Probe (1719) by Johann Mattheson (1681–1764), which included 48 figured bass exercises in all keys, Partien auf das Clavier (1718) by Christoph Graupner (1683–1760) with eight suites in successive keys, and Friedrich Suppig's Fantasia from Labyrinthus Musicus (1722), a long and formulaic sectional composition ranging through all 24 keys which was intended for an enharmonic keyboard with 31 notes per octave and pure major thirds. Finally, a lost collection by Johann Pachelbel (1653–1706), Fugen und Praeambuln über die gewöhnlichsten Tonos figuratos (announced 1704), may have included prelude-fugue pairs in all keys or modes.
It was long believed that Bach had taken the title The Well-Tempered Clavier from a similarly-named set of 24 Preludes and Fugues in all the keys, for which a manuscript dated 1689 was found in the library of the Brussels Conservatoire. It was later shown that this was the work of a composer who was not even born in 1689: Bernhard Christian Weber (1 December 1712 – 5 February 1758). It was in fact written in 1745–50, and in imitation of Bach's example.
Well-Tempered tuning
Bach's title suggests that he had written for a (12-note) well-tempered tuning system in which all keys sounded in tune (also known as "circular temperament"). The opposing system in Bach's day was meantone temperament[citation needed] in which keys with many accidentals sound out of tune. (See also musical tuning.) Bach would have been familiar with different tuning systems, and in particular as an organist would have played instruments tuned to a meantone system.
It is sometimes assumed that by "well-tempered" Bach intended equal temperament, the standard modern keyboard tuning which became popular after Bach's death, but modern scholars suggest instead a form of well temperament. There is debate whether Bach meant a range of similar temperaments, perhaps even altered slightly in practice from piece to piece, or a single specific "well-tempered" solution for all purposes.
Bach's autograph of Fugue No. 17 in A♭ major from the second part of Das Wohltemperierte Clavier
Complete works
Cantatas I
Kantaten - (BWV 1 - 76)
Cantatas II
Kantaten - (BWV 77 - 151)
Cantatas III
Kantaten - (BWV 152 - 200)
Weltliche kantaten - (BWV 201 - 215)
Huldigungs und Gl kwunschkantaten - (BWV 30a), (BWV 36b), (BWV 36c), (BWV 134a), (BWV 173a)
Masses
Motetten - (BWV Anh. 159), (BWV 228), (BWV Anh. 160), (BWV 225), (BWV 226), (BWV 229), (BWV 227), (BWV 118), (BWV deest), (BWV 230)
Mass in B Minor (BWV 232)
Lateinische Kirchenmusik - (BWV 233), (BWV 233a), (BWV 234), (BWV 235 ,236 ,237, 238, 240, 241, 242, 1081)
Magnificat D-Dur - (BWV 243); Tilge, Höchster, meine Sünden, (BWV 1083)
Magnificat Es-Dur - (BWV 243a) / Geistliche Vokalwerke
Matthäus Passion - (BWV 244)
Johannes Passion - (BWV 245)
Passion selon Saint Luc - (BWV 246)
Passion selon Saint Marc - (BWV 247)
Weihnachts Oratorium - (BWV 248)
Oster-Oratorium - (BWV 249), Himmelfahrts-Oratorium - (BWV 11)
Chorales
Chorals - (BWV 250-438)
Sacred Songs - (BWV 439-507)
Aria: Bist Du bei mir - (BWV 508)
Gib dich zufrieden - (BWV 510)
Fuge in Es - (BWV 522)
Ich Gnuge Mich An Mein Stande - (BWV 523)
Quodlibet - (BWV 524)
Songs
Orgel - Sechs Sonaten - (BWV 525 - BWV 530)
Orgelbüchlein (Little Organ Book) - (BWV 599-644)
Leipziger Choräle - (BWV 651- BWV 667)
Clavier Übung Dritter Theil - (BWV 552), (669 - 689), (802 - 805)
Organ Works Vol. 1
1. Tovvata and Fugue in F major BWV 540
2. Prelude and Fugue in G major BWV 550
3. Prelude and Fugue in E minor BWV 548
4. Prelude and Fugue in C major BWV 531
5. Prelude and Fugue in C minor BWV 549
6. Prelude and Fugue in D major BWV 532
7. Toccata and Fugue in D minor BWV 565
Organ Works Vol. 2
1. Toccata, Adagio and Fugue in C major BWV 564
2. Fantasia and Fugue in C major BWV 561
3. Prelude and Fugue in E minor BWV 533
4. Prelude and Fugue inA minor BWV 551
5. Kleines Harmonisches Labyrinth BWV 591
6. Toccata and fugue in D minor BWV 538
7. Trio in C minor BWV 585
8. Fantasia and Fugue in G minor BWV 542
Organ Works Vol. 3
1. Fantasia in G major BWV 572
2. Fugue in B minor BWV 579
3. Trio in D minor BWV 583
4. Prelude and Fugue in G minor BWV 535
5. Fantasia in C minor BWV 562
6. Fugue in G major BWV 577
7. Fantasia and fugue in C minor BWV 537
8. Fugue in G major BWV 576
9. Fugue in C minor BWV 575
10. Fugue in G major BWV 581
11. Fantasia and Fugue in C major BWV 570/BWV 946
12. Pedal excercitium BWV 598
13. Pasacaglia and Fugue in C minor BWV 582
Organ Works Vol. 4
1. Prelude And Fugue, For Organ In E Flat Major BWV 552a
2. Kyrie, Gott Vater In Ewigkeit BWV 669
3. Christe, Aller Welt Trost BWV 670
4. Kyrie, Gott Heiliger Geist BWV 671
5. Allein Gott In Der Höh Sei Ehr BWV 676
6. Dies Sind Die Heilgen Zehn Gebot BWV 678
7. Wir Glauben All An Einen Gott BWV 680
8. Vater Unser Im Himmelreich BWV 682
9. Christ, Unser Herr, Zum Jordan Kam BWV 684
10. Aus Tiefer Not Schrei Ich Zu Dir BWV 686
11. Jesus Christus, Unser Heiland BWV 688
12. Prelude And Fugue, For Organ In E Flat Major - Fugue BWV 552b
Organ Works Vol. 5
Kyrie, Gott Vater In Ewigkeit BWV 672 - BWV 713
Organ Works Vol. 6
1. Partite diverse Ach, was soll ich Sünder machen? BWV 770
2. Partite sopra Christ, der du bist der heller Tag, BWV 766
3. Partite sopra "O Gott, du frommer Gott", BWV 767
4. Canonic variations Vom Himmel hoch, da komm' ich her, BWV 769
5. Partite sopra Sei gegrüsset, Jesu gütig, BWV 768
Organ Works Vol. 7
1. Allein Gott in der Höh sei Ehr', BWV 771
2. Die Schubler Chprale Prelude BWV 645-650
3. Chorale Preludes BWV 730-740
Organ Works Vol. 8
1. Concerto No.1 in G major BWV 592 - BWV 597
2. Chorale Preludes BWV 726-729
Organ Works Vol. 9
1. BWV 719, BWV 1090-1100, BWV 714, BWV 742, BWV 1101-117
Organ Works Vol. 10
1. BWV 957
2. Chorales from the Neumeister Colledtion BWV 1115-1120
3. Chorale preludes BWV 651-662 The Eighteen
Organ Works Vol. 11
1. Chorale Preludes BWV 663-668
2. O Lamm Gottes unschuldig NBA
3. Miscellaneous Chorale Preludes BWv 714-725
Organ Works Vol. 12
1. 8 short preludes and fugues BWV 553-BWV 560
2. Trio in G major BWV 586
3. Prelude and Fugue BWV 534
4. Trio in G minor BWV 584
5. Prelude and Fugue in A major BWV 536
6. Prelude and Fugue in G major BWV 541
7. Allabreve in D major BWV 589
8. Prelude in G major BWV 568
9. Fugue in D majoe BWV 580
10. Prelude and Fugue in D minor BWV 539
Organ Works Vol. 13
1. Prelude and Fugue in C minor BWV 546
2. Prelude in C major BWV 567
3. Fugue in G minor BWV 578
4. Canzona in D minor BWV 588
5. Prelude in A minor BWV 569
6. Fugue in C minor BWV 574
7. Pastorale in F major BWV 590
8. Fantasia in G major BWV 571
9. Aria in F major BWV 587
10. Prelude and Fugue in C major BWV 547
Organ Works Vol. 14
1. Toccata and Fugue in E major BWV 566
2. Fantasia in B minor BWV 563
3. Prelude and Fugue in A minor BWV 543
4. Prelude and Fugue in B minor BWV 544
5. Prelude and Fugue in C major BWV 545
6 Trio in G major BWV 1027a
7. Prelude Trio nad Fugue in B flat major BWV 545b
8. Ricercar in C minor BWV 1079 No.5
9. Prelude and Fugue in G minor BWV 535a Incomplete
Organ Works Vol. 15
1. Chorale Preludes BWV 741-BWV 748, BWV 751-BWV 752, BWV 754-BWV 755, BWV 757-BWV 763, BWV 765, BWV 620a, BWV Anh. 55, BWV 131a
Inventions and Sinfonias - (BWV 772-801)
Suite in la min - (BWV 818)
Klavier - Englische Suiten - (BWV 806 - BWV 811)
Klavier - Französische Suiten - (BWV 812 - BWV 817)
Sechs Partiten (Clavier Übung I - (BWV 825 - BWV 830)
Das Wohltemperierte Klavier - (BWV 846 - BWV 893)
Toccatas - (BWV 910 - BWV916)
Twelve Little Preludes (BWV 924, BWV 939, BWV 999, BWV 925, BWV 926, BWV 940, BWV 941, BWV 927, BWV 928, BWV 929, BWV 930, BWV 942)
6 Little Preludes - (BWV 933 - 938)
Concerti - (BWV 972 - BWV 987), Bearbeitungen nach verschiedenen Meistern
Klavier - Goldberg Variationen - (BWV 988)
Keyboard works
1. Jésus, que ma joie demeure arr
2-3 Fantaisie chromatique & fughue - (BWV 904)
4-9 Petits préludes du Livre de clavecin de W.F. Bach
10-21 6 Petits préludes - (BWV 933, 934, 935, 936, 937, 938), (BWV 939, 940, 941, 942, 943, 999)
22-26 Petits fugues & préludes avec fughettes
27-32 Prélude & fughetta - (BWV 899), (BWV 900), (BWV 895)
Keyboard fantasias
Prelude (Fantasia) in A minor, BWV 922
Fantasia & Fugue in A minor, BWV 904
Prelude (Fantasia) in C minor, BWV 921
Fantasia in C minor, BWV 919
Prelude & Fugue in A minor, BWV 894
Prelude & Fughetta in G major, BWV 902
Prelude & Fughetta in F major, BWV 901
Chromatic Fantasia & Fugue in D minor, BWV 903
Fantasia in G minor, BWV 917
Fantasia & Fugue (unfinished) in C minor, BWV 906
Sonatas - (BWV 964-966, 968), Fugue - (BWV 954)
Bearbeitungen für Laute - (BWV 995, BWV 1000, BWV 1006a)
Four Lute Suites - (BWV 996), (BWV 997), (BWV 995), (BWV 1006a)
Drei Sonaten und drei Partiten für Violine solo - (BWV 1001 – BWV 1006)
Suiten für Violoncello solo - (BWV 1007 - BWV 1012)
Sonaten für Violine und Cembalo - (BWV 1014 – BWV 1019)
Sonaten für Viola da Gamba und Cembalo - (BWV 1027 –
BWV 1029)
Kammermusik für Flöte - (BWV 1039 - 1013 - 1035 - 1034 - 1033 - 1038), (BWV 1030 - 1032 - 1020 - 1031 - 997)
Violin Concertos
1. Violin Concerto in A minor, BWV 1041
2. Violin Concerto in E major, BWV 1042
3. Double Violin Concerto in D minor, BWV 1043
4. Concerto for 3 Violins and Strings in D major, BWV 1064r
5. Violin Concerto G minor, BWV 1056r
6. Concerto for Violin and Oboe in C minor, BWV 1060r
7. Violin Concerto in D minor, BWV 1052a
8. Concerto for Flute, Violin, Harpsichord and Strings in A minor, BWV 1044
Brandenburgische Konzerte - (BWV 1046– BWV 1051)
Wiedergewonnene Violinkonzerte - (BWV 1052R, 1056R, 1064R), Sinfonia - (BWV 1045)
Harpsichord Concertos - (BWV 1055, BWV 1056, BWV 1057, BWV 1058)
Konzerte für zwei Cembali - (BWV 1060, BWV 1061a, BWV 1062, BWV 1061)
Orchestersuiten - (BWV 1066 - BWV 1069)
Die Kunst der Fuge - (BWV 1080)
Musikalisches Opfer - (BWV 1079), Kanons - (BWV 1072 – 1078, 1086), 14 Kanons - (BWV 1087)
Klavierbüchlein für Wilhelm Friedemann Bach
Klavierbüchlein für Anna Magdalena Bach 1725
Cembalokonzerte - (BWV 1052, BWV 1053, BWV 1054)
Konzerte - (BWV 1063 - BWV 1065), (BWV 1044), (BWV 1050a)
12 Keyboard Concertos - (BWV 1052-1065)
Werke für das Lautenklavier
Werke für Tasteninstrumente aus den Weimarer Jahren
Bach als Lehrer - Werke für Tasteninstrumente aus den Köthener Jahren
Klavier - Goldberg Variationen [(BWV 988) (Cd No.1)]
(00:00:00 - 00:04:57) No.1 - Aria
No.2 - Variatio 1. a 1 Clav. (00:04:58 - 00:06:49)
No.3 - Variatio 2. a 1 Clav. (00:06:50 - 00:08:26)
No.4 - Variatio 3. Canone all' Unisuono a 1 Clav. (00:08:27- 00:10:27)
No.5 - Variatio 4. a 1 Clav. (00:10:28 - 00:11:31)
No.6 -Variatio 5. a 1 ô vero 2 Clav. (00:11:32 - 00:12:46)
No.7 - Variatio 6. Canone alla Seconda. a 1 Clav. (00:12:47 - 00:14:23)
No.8 - Variatio 7. a 1 ô vero 2 Clav. al tempo di Giga (00:14:24 - 00:16:20)
No.9 - Variatio 8. a 2 Clav. (00:16:21 - 00:18:12)
No.10 - Variatio 9. Canone alla Terza. a 1 Clav. (00:18:13 - 00:20:09)
No.11 - Variatio 10. Fughetta. a 1 Clav. (00:20:10 - 00:21:44)
No.12 - Variatio 11. a 2 Clav. (00:21:45 - 00:23:34)
No.13 - Variatio 12. Canone alla Quarta. a 1 Clav. (00:23:35 - 00:25:46)
No.14 - Variatio 13. a 2 Clav. (00:25:47 - 00:31:28)
No.15 - Variatio 14. a 2 Clav. (00:31:29 - 00:33:38)
No.16 - Variatio 15. Canone alla Quinta. a 1 Clav. (00:33:39 - 00:39:21)
Klavier - Goldberg Variationen [(BWV 988) (Cd No.2)]
No.1 - Variatio 16. Ouvertüre. a 1 Clav. (00:00:00 - 00:03:03)
No.2 - Variatio 17. a 2 Clav. (00:03:04 - 00:04:52)
No.3 - Variatio 18. Canone alla Sexta. a 1 Clav. (00:04:53 - 00:07:00)
No.4 - Variatio 19. a 1 Clav. (00:07:01 - 00:09:18)
No.5 - Variatio 20. a 2 Clav. (00:09:19 - 00:11:03)
No.6 - Variatio 21. Canone alla Settima. a 1 Clav. (00:11:04 - 00:14:29)
No.7 - Variatio 22. a 1 Clav. (00:14:30 - 00:16:24)
No.8 - Variatio 23. a 2 Clav. (00:16:25 - 00:18:29)
No.9 - Variatio 24. Canone all' Ottava. a 1 Clav. (00:18:30- 00:21:10)
No.10 - Variatio 25. a 2 Clav. (00:21:11 - 00:32:20)
No.11 - Variatio 26. a 2 Clav. (00:32:21 - 00:34:50)
No.12 - Variatio 27. Canone alla Nona. a 2 Clav. (00:34:51 - 00:36:35)
No.13 - Variatio 28. a 2 Clav. (00:36:36 - 00:38:41)
No.14 - Variatio 29. a 1 ô vero 2 Clav. (00:38:42 - 00:41:10)
No.15 - Variatio 30. Quodlibet. a 1 Clav. (00:41:11 - 00:42:52)
No.16 - Aria da Capo è Fine (00:42:53 - 00:45:45)
Keyboard works
1. Jésus, que ma joie demeure arr. Myra Hess
2 - 3 Fantaisie chromatique & fughue BWV 904
4 - 9 Petits préludes du Livre de clavecin de W.F. Bach
10 - 15 6 Petits préludes BWV 933, 934, 935, 936, 937, 938 (pour les commençants)
16 - 21 6 Petits préludes BWV 939, 940, 941, 942, 943, 999
22 - 26 Petits fugues & préludes avec fughettes
27 - 28 Prélude & fughetta BWV 899
29 - 30 Prélude & fughetta BWV 900
31 - 32 Prélude & fughetta BWV 895
Keyboard fantasias
Prelude (Fantasia) in A minor, BWV 922 - 00:00
Fantasia & Fugue in A minor, BWV 904 - 6:39
Prelude (Fantasia) in C minor, BWV 921 - 15:39
Fantasia in C minor, BWV 919 - 18:49
Prelude & Fugue in A minor, BWV 894 - 20:18
Prelude & Fughetta in G major, BWV 902 - 30:02
Prelude & Fughetta in F major, BWV 901 - 39:22
Chromatic Fantasia & Fugue in D minor, BWV 903 - 41:50
Fantasia in G minor, BWV 917 - 53:57
Fantasia & Fugue (unfinished) in C minor, BWV 906 - 56:14
Sonatas BWV 964-966, 968, Fugue BWV 954