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Bach : Contemplation

Anne Queffélec

Classical - Released January 8, 2009 | Mirare

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Minstrel in the Gallery

Jethro Tull

Rock - Released September 1, 1975 | Rhino

Minstrel in the Gallery was Tull's most artistically successful and elaborately produced album since Thick as a Brick and harked back to that album with the inclusion of a 17-minute extended piece ("Baker Street Muse"). Although English folk elements abound, this is really a hard rock showcase on a par with -- and perhaps even more aggressive than -- anything on Aqualung. The title track is a superb showcase for the group, freely mixing folk melodies, lilting flute passages, and archaic, pre-Elizabethan feel, and the fiercest electric rock in the group's history -- parts of it do recall phrases from A Passion Play, but all of it is more successful than anything on War Child. Martin Barre's attack on the guitar is as ferocious as anything in the band's history, and John Evan's organ matches him amp for amp, while Barriemore Barlow and Jeffrey Hammond-Hammond hold things together in a furious performance. Anderson's flair for drama and melody come to the fore in "Cold Wind to Valhalla," and "Requiem" is the loveliest acoustic number in Tull's repertory, featuring nothing but Anderson's singing and acoustic guitar, Hammond-Hammond's bass, and a small string orchestra backing them. "Nothing at All" isn't far behind for sheer, unabashed beauty, but "Black Satin Dancer" is a little too cacophonous for its own good. "Baker Street Muse" recalls Thick as a Brick and A Passion Play, not only in its structure but a few passages; at slightly under 17 minutes, it's a tad more manageable than either of its conceptual predecessors, and it has all of their virtues, freely overlapping hard rock and folk material, classical arrangements (some of the most tasteful string playing on a Tull recording), surprising tempo shifts, and complex stream-of-consciousness lyrics (some of which clearly veer into self-parody) into a compelling whole.© Bruce Eder /TiVo
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Bach: Cantatas BWV 170 & 169, Sacred Arias, Sacred Lieder

Aafje Heynis

Classical - Released July 7, 2022 | Alexandre Bak - Classical Music Reference Recording

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J'écoute Bach et Haendel avec ma maman

Anne Queffélec

Classical - Released December 3, 2012 | Mirare

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Convergences (Bach, Escaich, Ospital)

Thomas Ospital

Classical - Released February 9, 2018 | Tempéraments - Radio France

Distinctions 5 de Diapason - 5 étoiles de Classica
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53°32'46.0"N 9°59'42.4''E (Bach Organ Landscapes / Hamburg)

Jörg Halubek

Classical - Released December 3, 2021 | Berlin Classics

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You'll need your latest smartphone if you want to understand anything about the latest albums by the wacky German organist Jörg Halubek. Of course, the name Halubek is already a bit of an in-joke itself if one considers the journey to Lübeck (!) that Bach made in 1705, on foot, to meet Dietrich Buxtehude, the greatest German composer of his time. Underneath the GPS coordinates of the places and instruments frequented by Bach, we see Jörg Halubek from the back, looking out over the endless sea as in a painting by Caspar David Friedrich.More seriously, Jörg Halubek is a complete musician. An organist and harpsichordist, he also studied period performance practice with Jesper Christensen and Andrea Marcon at the Schola Cantorum in Basel, before forming his own ensemble, il Gusto Barocco, with whom he has made several recordings. This new volume of his Bach complete works, "Bach Organ Landscapes", undertaken since 2019 for the Berlin Classics label, takes us this time to Hamburg.Together with the Toccata in C, BWV 564, the works on this album represent the influence of the North German style on Bach's music. There are also some works composed before the trip to Lübeck and chorale preludes from his apprenticeship in Lüneburg. This project is based on ten historical organ builders who played a role in the life of Johann Sebastian Bach. © François Hudry/Qobuz
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J.S. Bach: Matthäus-Passion, BWV 244

Gächinger Kantorei

Classical - Released November 15, 2019 | haenssler CLASSIC

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Johann Sebastian Bach: Transcriptions

Ensemble Contraste

Classical - Released February 25, 2013 | La Dolce Volta

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Bach: Desire - Cantates 32, 49 & 154

Caroline Weynants

Classical - Released November 9, 2010 | Passacaille

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Bach, C.P.E.: Flute Concertos

Eckart Haupt

Classical - Released March 8, 2010 | CapriccioNR

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Play Bach N. 2

Jacques Loussier

Jazz - Released January 1, 1960 | Universal Music Division Decca Records France

The Art of Bach

Anderson & Roe Piano Duo

Classical - Released January 13, 2015 | Steinway and Sons

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Cantatas of the Bach Family

Benjamin Appl

Classical - Released June 19, 2020 | haenssler CLASSIC

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Albums pairing music by Johann Sebastian Bach with that of his sons come along every so often, but one like this, examining a single genre, is not so common despite its obvious potential. The execution is not flawless, but the music on this album is rare, interesting, and well performed. Listeners actually get only two cantatas by the Bach sons, and the program closes with the 1747 version of the Cantata No. 82, "Ich habe genug," BWV 82, beautifully sung by Benjamin Appl but doesn't add much to the program. There are also a pair of symphonies by (probably) Carl Philipp Emanuel and Wilhelm Friedemann Bach, the latter more experimental in its wild voice-leading than the usually unorthodox C.P.E. The two actual cantatas by Bach's sons are quite intriguing. Johann Christoph Friedrich Bach's Pygmalion is a secular work for bass and ensemble, a semi-dramatic piece with lots of recitative. The intriguing thing is that Johann Christoph Friedrich seems to do anything to avoid following his father's example: there is a bit of Vivaldi here, Handel there, as well as more modern influences like Gluck. The opening sacred cantata, C.P.E. Bach's Ich bin vergnügt mit meinem Stande, Wq deest (the work gets its world premiere here, and no doubts are raised about its authorship), is again closer to J.S. Bach's example. There's plenty more to hear, and Reinhard Goebel, leading the Berliner Barock Solisten, expands upon the finer points in his notes. This may be of most interest to devotees of the Bachs, but it's listenable for anyone. © TiVo
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Graun, Telemann & J.S. Bach: Wer ist der, so von Edom kömmt

Lóránt Najbauer

Classical - Released March 19, 2021 | Glossa

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The conductor György Vashegyi and his ensembles, the Orfeo Orchestra and the Purcell Choir, are fluent in various fields of baroque and classical music, with a particular predilection for French baroque opera. But one of their favourite lines of work is Lutheran sacred music, and a good example of this is this beautiful work, "Wer ist der, so von Edom kömmt", a period pasticcio with pieces by various composers. Graun (a composer at the court of Frederick II who was greatly admired by his contemporary colleagues), rubs shoulders here with Telemann and Johann Sebastian Bach, as well as with a mysterious unknown, who wrote several of the most impressive passages in the work. In fact, this is a Passion Oratorio, a reflection on the events related to the martyrdom of Christ based on freely chosen texts without following a precise Gospel and without summoning the usual characters of the drama into an imaginary setting. The originality of this patchwork also lies in the distribution of the text where – contrary to many passions of the time – the events of the last days of Jesus’ life are told by chorales that float in the meditative atmosphere of the recitatives, arias and choruses. These chorales are especially impressive in the second part: the density of the writing, the unique dramatic harmonies, the arrangement of the voices are of such an exceptional quality that their author could definitely be Johann Sebastian Bach himself... whom the author of the essay included in the libretto, Gergely Fazekas, also points to as the possible compiler of this masterpiece. © Glossa

Bach : Cantates (Intégrale, volume 18)

Sigiswald Kuijken

Classical - Released February 21, 2008 | Accent

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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 BWV 180, 49, 115

Christophe Coin

Cantatas (sacred) - Released January 1, 1994 | naïve classique

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Bach: Cantatas with violoncello piccolo

Christophe Coin

Classical - Released January 1, 1995 | naïve classique

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Bach & Handel

Philippe Pierlot

Classical - Released December 15, 2005 | Mirare

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J.C. Bach: Lamento, Dialogue & Cantate

Akademia

Classical - Released November 2, 2018 | Eloquentia

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