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J.S. Bach: O Ewigkeit, du Donnerwort, BWV 20

Netherlands Bach Collegium

Classical - Released June 11, 2023 | Brilliant Classics

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O Ewigkeit, du Donnerwort, BWV 20/I. O Ewigkeit, du Donnerwort (Chor)

Christoph Spering

Classical - Released October 5, 2018 | deutsche harmonia mundi

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J.S. Bach: Klavierbüchlein für Anna-Magdalena Bach 1725

Jan Depreter

Classical - Released May 1, 2020 | Brilliant Classics

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J.S. Bach: O Ewigkeit, du Donnerwort, BWV 60

Netherlands Bach Collegium

Classical - Released November 21, 2021 | Brilliant Classics

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Trinitatis: Bach Cantatas

Damien Guillon

Classical - Released March 31, 2023 | Alpha Classics

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Bach: St. Matthew Passion, BWV 244 by Otto Klemperer

Otto Klemperer

Classical - Released March 4, 2023 | Alexandre Bak - Classical Music Reference Recording

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J.S. Bach : Matthäus-Passion, BWV 244 (Passion selon saint Matthieu)

Philippe Herreweghe

Classical - Released July 31, 2007 | harmonia mundi

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53°52'15.4"N 10°41'20.7"E (Bach Organ Landscapes / Lübeck, Norden & Goslar)

Jörg Halubek

Classical - Released November 4, 2022 | Berlin Classics

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J.S. Bach: St. Matthew Passion, BWV 244

Gaechinger Cantorey

Classical - Released March 5, 2021 | Accentus Music

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"The St. Matthew Passion by Johann Sebastian Bach is one of the greatest works in the history of music. Whenever I study this epochal composition, I always ask myself the question: How can a work of music, which is performed each year in thousands of performances, has been scientifically and artistically interpreted for decades, and worshiped for centuries, remain a new, contemporary, and at the same time universal and supreme idea? It can be achieved if that which is defined as established and comprehensive, and appears or is accepted as unshakeable, is set in motion without capping the connections to the work itself and its musical- historical, intellectual and theological foundations", says Hans-Christoph Rademann about one of the monumental sacred works of music history. In November 2020, Rademann and the Gächinger Cantorey ensemble and chorus, together with an extraordinary group of soloists, set out to lend a new and fresh perspective to Bach's timeless masterpiece of raging choirs, intimate chorales, and emotionally charged arias, which, with its drama and pictorial quality, allows the listener to experience the well-known Passion story again and again as something completely new and unheard-of. © Accentus Music
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Bach: Cantatas, Vol. 12

James Gilchrist

Choral Music (Choirs) - Released October 26, 2010 | SDG

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J.S. Bach : The Complete Works For Keyboard, Vol. 2 / Part 1 - Towards the North (Vers le Nord)

Benjamin Alard

Classical - Released April 12, 2019 | harmonia mundi

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik - 5 étoiles de Classica
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Bach: St. Matthew Passion

Choir of King's College, Cambridge

Classical - Released March 27, 2020 | Kings College Cambridge

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The retirement of the knighted Stephen Cleobury as the director of the Choir of King's College, Cambridge, in 2019 brought with it various valedictory events, including this Easter 2019 live performance of Bach's St. Matthew Passion, BWV 244. The big Bach works aren't necessarily in the wheelhouse of the English collegiate choirs, but Cleobury and the choir have performed the St. Matthew Passion on various occasions, including at least once with Sophie Bevan, the present fine soprano soloist. All of the soloists are strong, obviously welcoming the chance to participate in what was something of a landmark in English choral music. Lovers of the Cambridge choirs will want this in their collections regardless, but how about general followers of the St. Matthew Passion and its performances? Certainly, this is quintessentially English Bach, although the all-male boys-and-men choir of about 25 members is probably closer to what Bach intended than the warmer small adult groups that are the norm these days. If you're looking for a sense of awe at the events of the Crucifixion, this may not be the place to find it, but Cleobury's careful work may grow on listeners. In a rather cavernous King's College acoustic, he achieves good separation of the work's double choirs, and the lengthy instrumental introductions of the work's glorious arias are sharp and full of detail that connects to the vocal line. Although this is not an intensely dramatic St. Matthew Passion, it is one that unfolds according to its own logic, and it will reward multiple hearings. © TiVo
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Bach: Cantates pour l'Épiphanie: BWV 72, 81, 155 & 156

Montreal Baroque

Classical - Released November 1, 2013 | ATMA Classique

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Cantates (Intégrale, volume 7)

Siri Karoline Thornhill

Classical - Released January 1, 2007 | Accent

Booklet Distinctions 5 de Diapason - 4 étoiles du Monde de la Musique
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Herz und Mund und Tat und Leben - Bach: Cantatas BWV 6-99-147

Collegium Vocale Gent

Classical - Released September 1, 2023 | Phi

Hi-Res Booklet Distinctions 4F de Télérama
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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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Bach Motets

Solomon's Knot

Classical - Released June 16, 2023 | Prospero Classical

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Oeuvres pour orgue (Édition 5.1)

Johann Sebastian Bach

Classical - Released October 23, 2012 | Aeolus

Hi-Res Booklet Distinctions La Clef du mois RESMUSICA
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Bach: Cantatas for Bass

Matthias Goerne

Classical - Released August 25, 2017 | harmonia mundi

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Klassik
Here’s a repertoire that everybody knows about yet is completely neglected: the Bach cantatas. Granted a few have gained some importance, mostly thanks to the vocal qualities of singers who have seized it for a few decades – Fischer-Dieskau and Elly Ameling to name a few – while some complete works adorn aficionados’ collections. There is however enough content in these cantatas to “make up” about a dozen Passions or Oratorios on par with some of those we already know. Bach himself didn’t refrain from drawing from them to recycle arias, ensembles, choirs and sinfonias. Among some of the most famous, honoured in the 1950s by Fischer-Dieskau, are two cantatas for baritone: Ich will den Kreuzstab gerne tragen (1726) and Ich habe genug (1727), both written with oboe and string accompaniment. It’s precisely with this roster in mind that the Freiburger Barockorchester serves Matthias Goerne, a disciple of Elisabeth Schwarzkopf and… Dietrich Fischer-Dieskau, him again! The German baritone, a regular on the world’s most prestigious scenes, doesn’t refrain from lending his immense voice to this almost-chamber music by giving it a character far removed from the lyrical style required by Berg, Wagner or Strauss. In addition, still with the oboe in mind, the recording includes the Concerto in A Major for Oboe d'amore BWV1055R, a modern reconstruction from a keyboard concerto in A major, which there is every reason to believe was itself recycled by Bach from an older concerto for oboe d'amore. The remarkable Katharina Arfken plays the oboe for the cantatas and the oboe d’amore for the concerto. © SM/Qobuz
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Bach Fragments: Organ Works Completed by Lorenzo Ghielmi

Lorenzo Ghielmi

Classical - Released November 10, 2023 | Passacaille

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