Tracklista:1. Variations on an Original Theme in D Major, Op. 21, No. 1 00:16:26 2. Variations on a Hungarian Song in D Major, Op. 21, No. 2 00:06:46 3. No. 1. Study after Frederic Chopin in F Minor 00:02:43 4. No. 2. Rondo after C. M. von Weber in C Major 00:04:38 5. No. 3. Presto after J.S. Bach in G Minor (1st version) 00:03:58 6. No. 4. Presto after J.S. Bach in G Minor (2nd version) 00:04:12 7. No. 5. Chaconne by J.S. Bach in D Minor (for left hand alone) 00:17:38

• Wykonawca Biret Idil
• Data premiery 2014-12-07
• Nośnik CD

Heinrich von Herzogenberg (1843-1900) was a singular composer for the 19th Century. He found inspiration in  the music of Wagner and Schumann, but was also the  founder of the Bach Society and championed works of older  composers such as Schütz as well as a personal friend of Brahms. While attracted to the music of the Lutheran church, he was a devout, life-long Catholic.Herzogenberg's oratorio "The Birth of Christ" was quite extraordinary for its time. Large-scale religious music was no longer fashionable, and even most "Masses" were written for the concert hall rather than the Church. Herzongenberg's Die Geburt Christi is scored for a large orchestra, choir, children's chorus, soloists and organ and deftly combines the countrapuntal textures of Bach with the late Romantic harmonic language of Brahms. The result is a serene and oddly moving score, achieving some of its most touching moments with the simplest of forces (a lovely setting of Jesu, Lieber Jesu Mein" for solo voice and cello is just one highlight).

• Wykonawca Various Artists
• Data premiery 2012-10-01
• Nośnik CD

„All You Need is Bach”. to kolejna płyta światowej gwiazdy muzyki organowej Camerona Carpentera, artysty grającego na zaprojektowanym przez siebie instrumencie. Tym razem cały album poświęcony jest utworom Jana Sebastiana Bacha.

• Wykonawca Carpenter Cameron
• Data premiery 2016-06-03
• Nośnik CD

  This recording of the Saint John Passion by the Bach Choir of Bethlehem – America’s oldest Bach society -- is an acknowledgement of an important part of its history. In 1888, fresh from studying with Reinberger in Munich, J. Fred. Wolle conducted the Bethlehem Choral Union in the first complete American performance of this Passion in Bethlehem’s Moravian Church. Ten years later, the Choral Union morphed into the Bach Choir that came into being to perform the B Minor Mass in 1900. Although there were a few gaps in the early years, the annual Bethlehem Bach Festival continues to bring the music of Bach to thousands of people from across the United States and beyond. Bach’s Saint John Passion is one of the masterworks of the choral repertory, but it took time for it to be acknowledged as the masterpiece it truly is. It was re-discovered after Mendelssohn’s performance of the Saint Matthew Passion in 1829 had stunned the music world, awakening it to the superlative quality of Bach’s vocal music, and, at the same time, creating an upsurge in the performance of choral music in general, which continues to this day.    The interest generated by the Saint Matthew Passion threw the spotlight on the other Passion that Bach composed, the Saint John Passion. The comparison with the Saint Matthew Passion often meant that the Saint John Passion was thought to have been a more simple work, in that it called for less complexity in terms of the vocal and instrumental resources. But the differences between the two Passions are not because one is superior to the other but because they are settings of two different narratives, each one written from a different perspective. The Passion narrative in Saint Matthew’s Gospel is interpretative and deals with the cosmic implications of the tragedy. The Passion narrative in Saint John’s Gospel is more dramatic and displays the unfolding details of the suffering of Jesus – and their effect on those caught up in it – in personal terms. Thus Bach’s setting of the Saint Matthew Passion is somewhat detached, distant and reflective, like looking down on an event from high above, whereas his Saint John Passion is dramatic, immediate and compelling, like being on the edge of an apron stage for the performance of a Shakespeare play – so close that you are virtually part of the action. Bach’s Saint Matthew Passion is more measured, with places of rest, where the action stops and the significance of what has just taken place is interpreted. In contrast, the Saint John Passion is almost breathless in its progress through the sequential events of the Passion, and the chorales and arias heighten this intensity. The Saint Matthew portrays the Passion something like a tableau to be observed: the Saint John, as a sequence of events to be experienced.   Today Bach’s Passions are heard very differently from how they were first heard in Leipzig. Contrary to what one might think, they are liturgical music. The Saint John Passion was not written as an independent oratorio, though that is how we usually hear it – in the same way we hear Handel’s Messiah, Haydn’s Creation, Mendelssohn’s Elijah, or Britten’s War Requiem. But Bach wrote it for a community at worship, not an audience at leisure. It was composed for a liturgical service, vespers on Good Friday. It was designed to be heard in the context of prayer, preaching and congregational song. The two halves were not meant to incorporate an intermission but an hour-long sermon on the Passion of Jesus.    When we hear this work, we hear it out of context. We do not hear it as part of the Holy Week music. We do not hear it as liturgical music, performed at vespers on Good Friday. We hear it in an entirely different context – modern, non-ecclesiastical, and in a concert hall setting (even though it may take place in a church), or disembodied through speakers or ear-buds – where the music comes to us detached from its original context and is heard in isolation and judged on its own terms and for its own sake.    We can be historically informed in our performance, by using period instruments. We can learn the appropriate performance practices associated with this music. But what we cannot do is hear this music with 18th-century ears. We have 21st-century ears that cannot pretend to have unheard the sounds of Schoenberg, Stravinsky and Stockhausen. We have 21st-century minds that cannot fabricate the limitations of an 18th-century world-view. Therefore we have to create our own context in which to hear this work. In philosophical terms, we have to interpret what we hear so that it makes sense in our modern world, and each one has to create our own philosophical context.   Some will hear this music – as indeed it is – as a statement of Christian faith, still powerful, even though it is heard outside of its original liturgical and theological contexts. Others, who do not share this belief, will ignore its text and subject matter and receive it as marvelous music. But even though it is magnificent music, it is disturbing music. It is, after all, the musical exposition of the trial and execution of one who is innocent, while everyone else in the story is less than perfect. But it is not an exercise in despair. This music proves beyond all doubt that, while human nature might be seriously flawed, it is nevertheless capable of creating works of art that give us hope to live by. Just listen to that closing chorale, almost entirely in the major mode, whereas most of the Passion that precedes it has been in the minor. So at the end, hope conquers despair, death is followed by resurrection.   Robin A. Leaver  

• Wykonawca Doyle Julia , Taylor Daniel , Butterfield Benjamin , Daniels Charles , Sharp William , Nomura Christopheren , Newman David
• Data premiery 2012-03-01
• Nośnik CD

Płyta to debiut 23-letniej łotewskiej skrzypaczki - zwyciężczyni konkursu Queen Elisabeth w Brukseli z 2001 roku. Krytycy cenią młodą artystkę za pewny, gorący i okrągły dźwięk, doskonałą technikę, liryzm i niezwykłą elokwencję uczuć ("Rondo") oraz posiadanie wszystkiego co jest niezbędne, aby zrobić wielką karierę. Album z koncertem G-dur KV 216 Mozarta, Rondem C-dur KV 373, Rondem A-dur D 438 Schuberta oraz rzadko nagrywanym koncertem B-dur Michała Haydna został nagrany z Kammerorchester Carl Philipp Emanuel Bach pod dyrekcją Hartmuta Haenchena. A pierwszym sukcesem fonograficznym artystki jest fakt, że płyta uplasowała się w Niemczech wyżej niż najnowszy album Hilary Hahn, bowiem CD z koncertami znalazło się na 6 miejscu listy sprzedaży.

• Wykonawca Skride Baiba
• Data premiery 2005-04-08
• Nośnik CD

Tracklista:1. I. Allegro ma non troppo 00:06:28 2. II. Allegretto 00:03:01 3. III. Allegro con brio 00:04:40 4. A Hand of Bridge, Op. 35 00:09:44 5. Mutations from Bach 00:05:43 6. Vanessa, Op. 32: Act III: Intermezzo 00:04:26 7. Canzonetta, Op. 48 posth. 00:08:46 8. Fadograph of a Yestern Scene, Op. 44 00:09:40

• Wykonawca Various Artists
• Data premiery 2005-01-01
• Nośnik CD

100 niezwykłych utworów fortepianowych, które wprowadzą Cię w dobry nastrój. Tracklista: CD 1 1. J.S. Bach The Well-Tempered Clavier, Book 1: Prelude No. 1 In C Major, Bwv 846 2. Saint-Saëns Le Carnaval Des Animaux, R. 125: Vii. Aquarium (Andantino) 3. Schubert Auf Dem Wasser Zu Singen, D. 774 (Arr. Liszt) 4. Chopin 12 Etudes, Op. 10: No.3 In E Major, 'Tristesse' 5. Handel Suite In D Minor, Hwv 437: Iii. Sarabande 6. Debussy Suite Bergamasque, L. 75: Iii. Clair De Lune (Andante Très Expressif) 7. Chabrier Pièces Pittoresques: Vi. Idylle 8. Schumann Kinderszenen, Op. 15: Xii. Kind Im Einschlummern 9. Ravel Piano Concerto In G Major, M. 83: Ii. Adagio Assai 10. Chopin Piano Concerto No 1 In E Minor, Op. 11: Ii. Romanze (Larghetto) 11. J.S. Bach “Jesus Bleibet Meine Freude”, Bwv 147 (Jesu, Joy Of Man's Desiring) (Arr. Myra Hess) 12. Liszt 6 Consolations, S172: No. 3 In D-Flat Major (Lento Placido) 13. Beethoven Piano Sonata No. 8 In C Minor, Op. 13, “Pathétique”: Ii. Adagio Cantabile 5.33 Stephen Kovacevich, Piano 14. J.S. Bach Keyboard Concerto In F Minor, Bwv 1056: Ii Largo 15. Beethoven Bagatelle In A Minor, Woo 59, “Für Elise” (Poco Moto) 16. Borodin Petite Suite: Vii. Nocturne (Andantino) 17. Scriabin Nocturne For The Left Hand In D-Flat Major, Op.9 No.2 CD 2 1. Mozart Piano Concerto No. 21 In C Major, K. 467: Ii. Andante 2. Granados 12 Danzas Españolas, Op. 37: Ii Oriental 3. Beethoven Piano Concerto No. 4 In G Major, Op. 58: Ii. Andante Con Moto 4. Chopin 12 Etudes, Op.10: No. 6 In E-Flat Minor 5. Satie 3 Gymnopédies: No. 1 Lent Et Douloureux 6. Fauré Nocturne No. 1 In E-Flat Minor, Op. 33 No. 1 7. Chopin 24 Préludes, Op. 28: No. 7 In A Major (Andantino) 8. Brahms 16 Waltzes, Op. 39: No. 9 In D Minor 9. Liszt Liebestod (From Tristan Und Isold By Wagner) 10. Ravel Pavane Pour Une Infante Défunte, M. 19 11. Mozart Piano Sonata No. 12 In F Major, K. 332: Ii. Adagio 12. Debussy Rêverie, L. 76 13. Schubert 6 Moments Musicaux, Op. 94, D. 780: No. 3 In F Minor (Allegro Moderato) 1.33 Stephen Kovacevich, Piano 14. Schumann Kinderszenen, Op.15: Vii. Träumerei 15. Séverac Cerdaña: I. En Tartane (L'arrivée En Cerdagne) 16. Tchaikovsky The Seasons, Op. 37a: Vi. June (Barcarolle). Andante Cantabile 17. Scriabin Etude, Op. 2 No. 10 CD 3 1. Liszt Liebesträume, S.541 2. Mozart Piano Concerto No. 23 In A Major, K. 488: Ii. Adagio 3. J.S. Bach Goldberg Variations, Bwv 988: I. Aria 4. Beethoven Piano Sonata No. 14 In C-Sharp Minor, Op. 27 No. 2, “Moonlight”: I. Adagio Sostenuto 5. Chopin Waltz No. 7 In C-Sharp Minor, Op. 64 No. 2 6. Debussy Petite Suite, L. 71a: I. En Bateau 7. Ravel Miroirs, M. 43: Iii. Une Barque Sur L'océan 8. Satie 6 Gnossiennes: No. 1 Lent 9. Rachmaninov Piano Concerto No. 2 In C Minor, Op. 18: Ii. Adagio Sostenuto 10. Chopin 12 Etudes, Op. 25: No. 6 In G-Sharp Minor 11. Schumann 6 Etudes In Canon Form For Pedal Piano, Op. 56: Ii. Mit Innigem Ausdruck 12. Mendelssohn Songs Without Words, Op. 67 No. 2: Allegro Leggiero 13. Fauré Dolly Suite, Op. 56: I. Berceuse (Allegro Moderato) 14. Granados 6 Escenas Romanticas: Vi. Epilogo 15. Haydn Piano Concerto No. 11 In D Major, Hob. Xviii:11 1: Ii. Un Poco Adagio 16. Brahms 3 Intermezzi, Op. 117: No. 2 Intermezzo In B-Flat Minor CD 4 1. Beethoven Piano Concerto No. 5 In E-Flat Major, Op. 73, 'Emperor': Ii. Adagio Un Poco Mosso 2. J.S. Bach After Marcello Concerto In D Minor, Bwv 974: Ii Andante 3. Chopin Nocturne In D-Flat Major, Op. 27 No. 2 4. Debussy Arabesques, L. 74: No. 1 5. Schumann Davidsbündlertänze, Op. 6, Book 1: Innig 6. Tchaikovsky Piano Concerto No. 1 In B-Flat Minor, Op. 23: Ii. Andantino Semplice – Prestissimo 7. Scarlatti Sonata In G Minor, Kk. 8 8. Schubert Piano Sonata No.20 In A Major, D959: Ii Andantino 9. Mendelssohn Songs Without Words, Op. 19 No. 1: Andante Con Moto In E Major 10. Grieg Lyric Pieces, Op. 47 No. 3: Melody 11. Fauré Songs Without Words, Op. 17 No. 3: Andante Moderato 12. Schumann Waldszenen, Op. 82: Einsame Blumen 13. Ravel Gaspard De La Nuit, M. 55: I. Ondine 14. Brahms 16 Waltzes, Op. 39: No. 15 In A-Flat Major 15. J.S. Bach “Wachet Auf”, Bwv 645 (Arr. Busoni) 16. Chopin Nocturne No. 1 In B-Flat Minor, Op. 9 No. 1 17. Haydn Keyboard Concerto In F Major, Hob. Xviii:7: Ii. Adagio 18. J.S. Bach The Well-Tempered Clavier, Book 1: Prelude No. 2 In C Minor, Bwv 847 CD 5 1. Debussy 2 Arabesques, L. 66: No. 1 Andantino Con Moto 2. Scarlatti Sonata In B Minor, Kk. 87 3. Chopin Nocturne No. 2 In E-Flat Major, Op. 9 No. 2 4. Mendelssohn Songs Without Words, Op. 30: No. 6 In F-Sharp Minor, “Venetian Gondola Song” 5. Granados Goyescas “Los Majos Enamorados”: Iv Quejas O La Maja Y El Ruisenor 6. Franck Prélude, Fugue & Variation, Op. 18, Fwv 30: I. Prélude (Arr. Bauer) 7. Mozart Concerto For 2 Pianos In E-Flat Major, K.365: Ii Andante 8. Schumann Kinderszenen, Op. 15: I. Von Fremden Ländern Und Menschen 9. Saint-Saëns Piano Concerto No. 2 In G Minor, Op. 22: I. Andante Sostenuto 10. Debussy Estampes, L. 108: I. Pagodes 11. Chopin 24 Préludes, Op. 28: No. 4 In E Minor (Largo) 12. Ibert Histoires: Ii. Le Petit Âne Blanc (Avec Une Tranquille Bonne Humeur) 13. Grieg Moods, Op. 73: Iv. Folksong (Andante Pastorale) 14. Rachmaninov Lilacs, Op. 21 No. 5 15. Massenet Eau Dormante, Impromptu (Lent Et Calme) 16. Schumann Davidsbündlertänze, Op. 6, Book 1: Nicht Schnell. Mit Äusserst Starker Empfindung CD 6 1. Ravel Jeux D'eau, M. 30 2. Schubert 4 Impromptus, D899: No.3 In G-Flat Major 3. Chopin Mazurka No. 13 In A Minor, Op. 17 No. 4 4. Desbussy Préludes, Book 1, L. 117: Viii. La Fille Aux Cheveux De Lin 5. Schumann 6 Etudes In Canon Form For Pedal Piano: I. Nicht Zu Schnell 6. Haydn Piano Sonata No. 13 In G Major, Hob. Xvi:6: Iii. Adagio 7. Liszt Les Jeux D'eau À La Villa D'este 8. Grieg Piano Concerto In A Minor, Op. 16: Ii. Adagio 9. Mozart Piano Sonata No. 8 In A Minor, K. 310/300d: Ii. Andante Cantabile Con Espressione 10. Chopin Nocturne In C-Sharp Minor, Op. Posth. 11. Schumann Waldszenen, Op. 82: No. 7 Der Vogel Als Prophet 12. Ravel Ma Mère L'oye (Suite), M. 60: I. Pavane De La Belle Au Bois Dormant. Lent 13. Debussy Ballade (Ballade Slave), L. 78 14. Gluck Dance Of The Blessed Spirits (Arr. Siloti) 15. Albéniz Iberia, Book 1: I. Evocacion 16. Chopin Berceuse In D-Flat Major, Op. 57

• Wykonawca Various Artists
• Data premiery 2018-06-22
• Nośnik CD

Viktoria Mullova’s Bach recordings for ONYX have been widely acclaimed worldwide, and of her recording of the Partitas and Sonatas for solo violin, the Sunday Times said ‘they exemplify the best of old and new stylistic approaches to Bach’s masterpieces’, selecting the recording as their Classical CD of the week. The BBC Music Magazine commented ‘Bach’s unaccompanied violin music offers many fiendish challenges in terms of accurately playing the notated music, let alone making expressive sense of it. Viktoria Mullova presents virtually flawless playing but, of greater importance, she sustains an impeccably punctuated, modulated and compelling dialogue through Bach’s counterpoint with seemingly effortless intimacy and charm. She appears to have wholeheartedly embraced the Baroque period instrument ethos.’ Once again she teams up with Ottavio Dantone in a programme of concertos for violin, offering not only the two famous concertos, but two concertos arranged for violin from the 2nd harpsichord concerto, and a concerto for violin and harpsichord which listeners may recognise from its violin and oboe guise – even this was arranged by Bach himself from the original for two harpsichords. Bach himself was a great re-user of material, and many concerto movements (including some from lost concertos) appeared in his cantatas. Mullova and Dantone have worked together for many years, both recording and in concert. They wanted to find a piece they could both play with orchestra, and BWV 1060 in this brilliant arrangement is the result – the overall composition is enriched by a range of new nuances.

• Wykonawca Mullova Viktoria , Dantone Ottavio , Accademia Bizantina
• Data premiery 2013-04-01
• Nośnik CD

BACH CIACCONA TRANSCRIPTIONS

• Wykonawca Van Asperen Bob
• Data premiery 2003-01-01
• Nośnik CD

Tracklista: 1. Harpsichord Concerto No. 1 in D Minor, BWV 1052 (Version according to Bach’s autograph score) 2. Harpsichord Concerto No. 2 in E Major, BWV 1053 3. Harpsichord Concerto No. 4 in A Major, BWV 1055 4. Harpsichord Concerto No. 5 in F Minor, BWV 1056

• Wykonawca La Risonanza , Bonizzoni Fabio
• Data premiery 2018-04-01
• Nośnik SACD