The Complete Bach Edition

Teldec’s COMPLETE BACH Edition, 153 CDs in 12 volumes comprising Bach’s complete works performed by world-renowned Bach interpreters on period instruments, constitutes one of the most ambitious projects in recording history. Newly reissued at a dramatically lower price, this box includes a bonus DVD documentary on Bach from the BBC's Great Composers series.

COMPLETE BACH represents the culmination of a process that began over five decades ago, in 1958, with the creation of the DAS ALTE WERK label. After initially triggering an impassioned controversy, Nikolaus Harnoncourt’s belief that “Early music is a foreign language which must be learned by musicians and listeners alike” has found widespread acceptance. He and his Read more colleagues searched for original instruments to throw new light on composers and their works and significantly influenced the history of music interpretation in the second half of this century. Their ideas have been shared by many fellow musicians, among them Ton Koopman, Il Giardino Armonico, Luca Pianca and Andreas Staier, all of whose performances appear in the COMPLETE BACH Edition. As an entirety, COMPLETE BACH offers listeners the chance to rediscover the astonishing developments in Bach interpretation of the last forty years and the tonal beauties of Bach’s works performed on period instruments.

Without Nikolaus Harnoncourt’s and Gustav Leonhardt’s groundbreaking accounts of the cantatas, a complete Bach edition would have been inconceivable. But with the recording of Bach's Complete Sacred Cantatas as inspiration, not to mention Harnoncourt’s 1970 St. Matthew Passion and Gustav Leonhardt’s legendary 1965 account of the Goldberg Variations, the early 1990's found Teldec in an extraordinary position: able to embark on the artistic, financial and logistical adventure to record and license recordings of the remainder of Bach’s oeuvre and present a complete edition in time for the 250th anniversary of his death.

From Schleicht, spielende Wellen, BWV 206, recorded by the Monteverdi Choir Hamburg, Amsterdam Chamber Orchestra, Jürgen Jürgens and André Rieu in 1963 to the Trio in A major, BWV 1025 with Werner Ehrhardt and Gerald Hambitzer recorded in April 1999, COMPLETE BACH chronicles nearly four decades of Bach performance on period instruments. By 1995, the year in which the project COMPLETE BACH was conceived, Teldec had already committed approximately two thirds of Bach's oeuvre to disc. Subsequently the company produced approximately twenty new recordings specifically for the COMPLETE BACH Complete Edition. Many of these new recordings were of works never before available on disc, including chorales, as well as works for organ and works for harpsichord.

The Cello Suites were recorded by Nikolaus Harnoncourt in 1965 and appear in the COMPLETE BACH Edition for the first time on CD. The edition includes Bach's solo violin works performed by Thomas Zehetmair and the violin sonatas performed by Alice Harnoncourt (violin), Nikolaus Harnoncourt (viola da gamba) and Herbert Tachezi (harpsichord).

Of the orchestral repertoire, the Brandenburg Concerti are represented by the highly acclaimed Il Giardino Armonico recordings released in 1997. The orchestral suites are performed by Nikolaus Harnoncourt and the harpsichord concerti by Gustav Leonhardt.

Also included in COMPLETE BACH are Nikolaus Harnoncourt's 1970 legendary recording of the St Matthew Passion with Concentus musicus Wien and the Arnold Schoenberg Chor as well as his 1995 recording of the St John Passion with the same forces.

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I have never felt that Bach’s work was in any way routine […]. Each new cantata, each new aria is an adventure, an exciting discovery. […] I know of no other composer who explores the whole range of music from the strictest counterpoint to romantic expressionism and who at the same time pushes back the boundaries of that world as comprehensively as Bach.

– Nikolaus Harnoncourt
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As might easily be guessed from its size, this set has been my major musical preoccupation for a span of four months—but being Bach, the time (a bit more than six and a half days total) could not possibly have been better spent. Regrettably, for reasons of space its size precludes a review of the scope it deserves; since a fully detailed discussion could easily consume a hundred pages of this magazine, I (and you) must be content with the bare essentials necessary to convey a basic idea of its contents and quality. Since many of the individual performances have been reviewed previously by other Fanfare critics, I recommend a search of the Fanfare Archive for their more detailed observations.

The set’s 153 CDs and bonus DVD are housed in an oblong cardboard box, with each CD in a separate cardboard sleeve. A 355-page booklet provides the detailed contents of each CD. The cardboard sleeves provide the titles and BWV numbers of the works on that disc; the last names only of vocal soloists, but the full names of instrumental soloists, ensembles, and conductors; the number of tracks for each composition and its total timing (but not the timings of individual tracks), and the total disc timing. (Since I had to add up all the individual CD timings myself to come up with the total timing for the entire set listed in the headnote, I will stake no claim for the perfect accuracy of that figure.)

The discs are well filled, with an average timing of a bit over 62 minutes apiece. An online index of all the compositions, listed by BWV number with title, genre, year of composition, and CD number, is available at warnerclassics.com/complete-bach-works-index. No printed texts for the vocal works are provided; the original German texts, along with English and French translations, are available online at bach-cantatas.com. (This is an independent site, not owned, maintained by, or related to Warner Classics.) There are some typographical errors on the cardboard sleeves in the set. On CD 5, which contains Cantatas 13, 14, and 16, Gustav Leonhardt is listed as conducting Cantatas 10 and 12 instead. On CD 148, it is not indicated which artists perform which works. (Gustav Leonhardt and the Leonhardt Consort perform BWV 1052, and Nikolaus Harnoncourt and Concentus Musicus perform BWV 1061, 1063, and 1064.) The names of several artists are misspelled, the most glaring mistake being Leopold Stastny (a once famous soccer coach) for flutist Leopold Stasny.

The difficulty is in the definition of “complete” Bach. Each of the three putatively complete editions currently available on CD—Brilliant Classics, Hänssler, and Teldec—includes or excludes works that are fragmentary or whose authenticity is disproven or doubted (the vast majority of these being brief chorales and lesser works for organ or keyboard), with some variations between each set. (See Wikipedia for a convenient online list.) In what follows I have listed by BWV number the items included and omitted in this particular set. (Again, as I had to tabulate the omitted BWV entries manually, I will not disclaim a possibility of error here.) The cantatas are the only part of the set where the contents are provided in strict BWV number order. The remaining vocal works, along with the chamber music and orchestral works, are arranged roughly in that order with certain exceptions. By contrast, the works for organ and for keyboard are in a completely non-sequential order dictated partly by attempts to assemble the pieces by genres and partly by the decision to keep together all the recordings made by a particular artist.

The set is divided into subsections by genre, with each subsection color-coded by a bar running across the top of the cardboard sleeve. CDs 1–92 contain the vocal works, CDs 93–153 the instrumental ones. There are also about three dozen short pieces that are alternative versions of arias, chorales, or keyboard works, individual genuine movements from otherwise spurious works, etc., which (with the exception of five major choral works) I will not list individually here but can be found at the end of Teldec’s online list. These are variously designated with additional letters (for example, BWV 245a, or “R” for reconstructed work) and abbreviations (“Anh.” or “App.” for “Anhang” or “Appendix” in German and English).

CDs 1–60 (Sacred Cantatas) contain BWV 1–199, and omit 15, 53, 141, 142, 160, and 189; for 190, 191, and 193, see the next set.

CDs 61–71 (Secular Cantatas) contain 200–215, 36c, 134a, 173a, 190, 191, 193, and 207a, and omit 216–224.

CDs 72–85 (Sacred Vocal Works) contain 232–249, 243a, and omit 246 and 247.

CDs 86–92 (Motets/Chorales/Songs) contain 118, 225–231, 250–524, 691, 1084, 1089, and 1122–1126, and omit 231, 441, 442, 444, 446, 448, 450, 455–461, 463, 464, 467, 473, 474, 476, 477, 481, 485, 486, 488–491, 493, 495–497,499, 501, 503, 504, 506, 508, 509, 512, 515, 517, 519–523, 1081–1083, and 1088.

CDs 93–108 (Organ Works) include 525–771, 769a, 802–805, 957, 1085, and 1090–1120, and omit 567, 573, 574, 580, 581, 584–587, 597, 631, 634, 692, 693, 695, 710, 711, 723, 744–746, 748, 751–753, 759–762, 764, 765, 771, 1087, and 1121.

CDs 109–30 (Keyboard Works) include 772–801 and 806–994, and omit 820, 824, 834, 835, 837–840, 845, 897, 898, 905, 907–909, 919, 920, 932, 945, 956, 957, 960, 962, 969, 970, 990, and 991.

CDs 131–43 (Chamber Music) include 995–1040, 1072–1080, and 1086, and omit 1020, 1024, 1036, 1037, and 1040.

CDs 144–53 (Orchestral Works) include 1041–1071, and omit 1070 and 1071.

This brings us at last to an overview of the performances themselves. The set begins with 60 CDs of the complete sacred cantatas in the series recorded between 1971 and 1989, with duties divided between Nikolaus Harnoncourt with Concentus Musicus Wien, Chorus Viennensis, Vienna Choir Boys, and Tölz Boys’ Choir on the one hand, and Gustav Leonhardt with the Leonhardt Consort, Collegium Vocale of Ghent (under Philippe Herreweghe), Tölz Boys’ Choir, and Hannover Boys’ Choir on the other. Both teams shared the same soloists, among which three names predominate: male alto Paul Esswod, tenor Kurt Equiluz, and bass Max van Egmond. Among occasional supplemental adult soloists, the most notable names include male alto René Jacobs, tenor Marius van Altena, and bass-baritones Ruud van der Meer, Philippe Huttenlocher, Siegmund Nimsgern, Robert Holl, Thomas Hampson, and Harry van der Kamp.

With this cycle now being 23 years old, familiarity has occasionally tended to breed contempt among music critics, and it has become too easy to forget what an extraordinary and revolutionary accomplishment it was. First and foremost, it was the first absolutely complete cycle of the cantatas, a virtual Mount Everest for the recording industry to scale. Second, it was recorded entirely on period instruments, with choral and instrumental forces on the more intimate scale of those actually used by Bach instead of the much larger forces used for similarly larger modern concert halls. Third, with the exception of the mediocre Marius van Altena (no, he doesn’t get a break from me, even if we share the same surname), the adult soloists are all first-rate to superlative—for interpretive depth I unapologetically consider Equiluz to be the greatest Bach vocal soloist in recorded history—though van Egmond shows some serious vocal wear near the end of the series. Fourth, with the exceptions to be noted shortly, the choral and instrumental forces likewise make worthy contributions. Fifth and last, there is the conducting of Harnoncourt and Leonhardt, stripping centuries of leaden weight and opacity off these scores to present them as lithe, buoyant, and transparent, though not without gravitas where required.

At the same time, there are also some well-known and oft-noted shortcomings. The most serious of these is the stubborn insistence to the bitter end on using boy sopranos to sing all the solo soprano arias (with the exception of BWV 51), long after their technical and interpretive inadequacies had become sorely evident—though to their immense credit, the boys often cope far better with their daunting tasks than anyone would have a right to expect. (Quite unfairly, the boy soprano soloists remain unnamed for almost the first third of the complete cycle, and then most oddly are listed only in the booklet but not on the individual CD cardboard sleeves.) For typical examples of the flaws, turn to BWV 10, 14, and 18 early on, and to BWV 192 at the end; for an impressive exception, turn to BWV 51. The results are generally disappointing, though seldom unlistenable, and no worse than any number of wobbly or screechy adult sopranos who have also recorded these works. Ironically, the one outright train wreck involves not any of the boy soloists, but the entire boy soprano section in the opening chorus to BWV 31, “Der Himmel lacht! die Erde jubiliert” (“Heaven Laughs! The Earth Rejoices”), an auditory disaster that should never have been allowed to see the light of day.

Second, it is an astonishing sign of the progress of the period-instrument movement over the last 40 years that the level of instrumental playing exhibited in this cycle, particularly in the earliest entries, would no longer be acceptable among front-rank ensembles today. Right to the end, the horns and trumpets tend to fracture or lip into many of their notes, and the squawky oboist in BWV 8 and the raw, brittle trumpeter in BWV 46 would not make it to the stage of an initial audition nowadays. It is an unkind irony that these groundbreaking performances can now, by comparison with the ongoing cycles of Gardiner, Koopman, and Suzuki, seem dated in these aspects. But even if one or more of those later cycles ultimately supersedes Harnoncourt and Leonhardt, their cycle remains an indispensable historical landmark which every serious lover of Bach is obligated to hear.

The secular cantatas are drawn from a hodgepodge of sources in the Warner/Teldec archives, with recording dates ranging from 1963 to 2011. BWV 190, 191, 193, 201, 204, 207a, 210, 213–215, and 63 App. and 182 App. are performed by Ton Koopman and the Amsterdam Baroque Orchestra, while BWV 134a and 173a feature Koopman with Concentus Musicus. BWV 209 is done by Leonhardt with his Leonhardt Consort, while in BWV 203 Leonhardt plays at the harpsichord in support of bass Jacques Villisech. BWV 205, 208, 211, and 212 have Harnoncourt with Concentus Musicus; BWV 207 is with Reinhard Goebel and Musica Antiqua Köln. Bringing up the rear are four oddities: the brief one-movement BWV 200 with Fritz Werner and the Southwest Chamber Orchestra of Pforzheim; BWV 36c with Peter Schreier and the Berlin Chamber Orchestra; BWV 202 with Jaap Schröder and Concerto Amsterdam; and BWV 206 with André Rieu and the Amsterdam Chamber Orchestra. (No, not the violinist of Strauss waltz fame; this is his father.) These are oddities because, apart from Missae Breves BWV 233–242, the three supplemental arias from the St. John Passion, BWV 245a-c, the BWV 118 motet, and the BWV 1001–1006 violin sonatas and partitas (all discussed further below), these four items are the only pieces in this set performed on modern rather than period instruments. (One wonders why Teldec missed the opportunity to produce an all-period instrument set. From the overall track record of parent company Warner, my guess is sheer parsimony.) The soloists throughout are generally good to excellent, though I have never liked the voices of either countertenor Michael Chance or tenor Peter Schreier (the latter sings as well as conducts in BWV 36c), and soprano Agnes Giebel is off form. The period-instrument performances are all quite fine, and Schreier is a stylish leader of his modern forces in BWV 36c. The Werner recording of BWV 200 from 1967 has an old-fashioned sweetness to it, but the 1967 recording of BWV 202 and 1963 recording of BWV 206 are rather lame. Again, one can only wonder why Warner did not license either Schreier’s recordings of those as well (discmates to his recording of BWV 36c in a Berlin Classics set), or more of Koopman’s ongoing cycle.

The collection of sacred vocal works is drawn again primarily from Harnoncourt’s recordings with Concentus Musicus—the pioneering St. Matthew Passion (1970) and Christmas Oratorio (1972), followed later by the Magnificat (1984) and his second recordings of the Mass in B Minor (1986) and the St. John Passion (1995). These are supplemented by performances (variously recorded between 1974 and 1998) of three arias from the 1725 version of the St. John Passion, with Peter Schreier conducting the Staatskapelle Dresden; the alternative version of the Magnificat, BWV 243a, with Simon Preston leading the Academy of Ancient Music and the Choir of Christ Church Cathedral, Oxford; the Missae Breves, BWV 233–242, with Michel Corboz conducting the Lausanne Chamber Orchestra; Psalm 51, BWV 1083, with Gunar Letzbor, the Ars Antiqua Austria, and the St. Florian Boys Choir; and the Easter Oratorio with Ton Koopman and his Amsterdam Baroque Orchestra and Choir. While I may court disagreement here, I for one am thankful that Teldec included Harnoncourt’s remakes of the B-Minor Mass and St. John Passion, as the singing and playing are far more polished than in the earlier versions, and Harnoncourt finally had the good sense to abandon the use of boy soprano soloists in favor of adult female sopranos fully capable of singing their parts. The St. Matthew Passion remains an impressive achievement, though again the use of boy soprano soloists remains a sore point. All the adult soloists throughout are again generally good to excellent. While none of these is a first choice any longer for a recording of these works, most hold up very well and are welcome additions to any collection; only the somewhat ragged Christmas Oratorio and the rather opaque Corboz recordings of the Missae Breves do not wear their age well and need to be supplanted.

In the “Motets, Chorales, and Songs” section, the BWV 225–230 motets are Harnoncourt’s 1980 recordings with Concentus Musicus and the Stockholm Bach Choir under Andreas Öhrwall. The BWV 253–438 chorales, supplemented by BWV 500a, 1084, 1089, and 1122–1126, feature a 1999 set with the Berlin Radio Choir under Robin Gritton. The BWV 250–252 wedding chorales likewise date from 1999, but with Ton Koopman and the Amsterdam Baroque Choir and Orchestra. Excerpts from the BWV 439–507 songs forming the Schmellis Gesangbuch are given by Koopman at the organ, with tenor Christoph Prégardien, bass Klaus Mertens, and cellist Jaap ter Linden, while excerpts from the BWV 508–518 songs belonging to the Klavierbüchlein für Anna Magdalena Bach are taken from the 1994 recording with Steven Stubbs and the Tragicomedia vocal ensemble. The BWV 118 motet recorded in 1964 features Jürgen Jürgens, Jaap Schröder, the Monteverdi Choir of Hamburg, and Concerto Amsterdam, while the BWV 524 Quodlibet from 1967 has a solo quartet supported by the Leonhardt Consort. All of these are top-notch performances, though the BWV 118 on modern instruments is of a richly old-fashioned cast. Unfortunately, the potted versions of the BWV 439–507 and 508–518 give the lie to the title of The Complete Bach Edition for this set; if Warner/Teldec could license some of Ton Koopman’s newest cantata recordings from 2011 for this set, surely it also could and should have sprung for complete editions of these collections.

With CDs 93–108 we come to one of the great glories of this set: the complete organ works, in the set recorded by Ton Koopman from 1995 to 1999. Koopman’s cycle is one that elicits strong opinions pro and con, primarily because he frequently takes tempi considerably faster than those typical of most organists. For me that is absolutely welcome, as I have long lamented that performances of these pieces are generally too slow; Koopman by contrast is almost always just right for me. Allied to that are Koopman’s incredible ability to draw an astonishing array of timbres and tonal colors from the registrations and stops of the various Baroque organs at his disposal, his exceptional rhythmic vitality, and his utterly apt sense of expressive phrasing. There are a very few less than stellar entries. The Prelude and Fugue, BWV 544, is rather stiff; an otherwise terrific Toccata and Fugue, BWV 565, is marred by eccentric extended trills on the sustained notes of the opening fanfare motif; the BWV 582 Passacaglia is very good but somehow does not quite build up to the mighty climax of the very greatest performances. The one outright failure is the famous Fugue in G, BWV 577, taken at an inexplicably lame tempo. But it speaks volumes for the caliber of this cycle that these are the only four works where I consider the performances to be less than superlative; for me, this is interpretively the desert-island Bach organ set. I do have two reservations: I wish Koopman had included the apocryphal BWV pieces, and that the set had arranged the works in sequential BWV order, as the typical attempts at thematic grouping of pieces pursued here (and in most other Bach organ sets) simply makes many pieces far more difficult to find. (Two cycles—by Wolfgang Stockmeier, originally issued in a 20-CD set on the Art & Music label but currently available in two 10-CD sets on the super-budget Documents label, and by Gerhard Weinberger on CPO—include all the apocryphal works, though Stockmeier lacks the Neumeister chorales, discovered after his set was made. The Stockmeier set also has all the works, with a few minor exceptions, arranged in BWV order.)

All of the pieces in the “Keyboard Works” section, BWV 772–994, are performed on the harpsichord except for BWV 952, which is played on the organ. Unlike with the organ works, the duties here are divided among several performers. (Has any single harpsichordist or pianist yet undertaken to record all of Bach’s keyboard works?) Most of these—Bob van Asperen, Olivier Baumont, Alan Curtis, Gustav Leonhardt, Scott Ross, Zuzana Ruzicková, Andreas Staier, and Glen Wilson—will be readily familiar to Fanfare readers who are harpsichord aficionados, leaving only Michele Barchi as a relatively unknown name. Their assignments are as follows:

Curtis: English and French Suites, BWV 806–817;

Ross: Partitas, BWV 825–830; Italian Concerto, BWV 971; Overture (Partita), BWV 831;

Wilson: Well-Tempered Clavier , BWV 846-893; Aria Variata, BWV 989; 14 Canons, BWV 1087;

Van Asperen: Toccatas, BWV 910–916;

Staier: Sonatas, BWV 964–966 and 968; Fugue, BWV 954; Fantasy, BWV 918;

Leonhardt: Goldberg Variations , BWV 988; Chromatic Fantasy and Fugue, BWV 903; Capriccio, BWV 992; three shorter works, BWV 823, 895, and 952 (the last-named on the organ);

Baumont: Concerti after Vivaldi, BWV 972, 973, 975, 976, 978, and 980; Preludes, BWV 846a, 847a, 851a, and 855a;

Barchi: Concerti after various composers, BWV 974, 977, 979, and 981–987; miscellaneous shorter works, BWV 813a, 822, 832, 833, 836, 896, 899, 901, 902, 906, 917, 921–923, 929, 946–951, 953, 961, and 967;

Ruzicková: Two- and Three-Part Inventions, BWV 772–801; Suites, BWV 818a, 819, and 821; miscellaneous shorter works, BWV 814a, 818, 819a, 841–844, 894, 900, 902a, 904, 924–927, 929–931, 933–944, 955, 958, 959, 963, 993, and 994.

As with the organ works, I am dissatisfied with the layout of this section of the set. Discs of major and lesser works follow one another in no discernible sequence. For some bizarre reason, the four discs featuring Ruzicková are randomly scattered among other discs as CDs 109, 113, and 120–121, instead of being grouped together. Instead of the English and French Suites being presented as units, they are interleaved. It would have taken very little effort to come up with a far more logical and usable sequence for this section. Most of the recordings date from between 1989 and 1999; those by Ruzicková stem from the mid 1970s, while those by Leonhardt and Curtis date back to the 1960s and 1970s. One must also again question here the set’s claim to be a “complete” Bach edition, as it does not include either the 1722 and 1725 Klavierbüchlein für Anna Magdalena Bach or the 1720–23 Klavierbüchlein für Wilhelm Friedemann Bach . One can of course argue that since most of the contents of these collections are included in other works, Teldec is justified in a decision to avoid duplication and offer only individual items from those notebooks that Bach did not use elsewhere, but I find it unfortunate and wrong-headed.

There is a certain stylistic affinity in the performances of the major works in this set, given that van Asperen, Curtis, Staier, and Wilson were all pupils of Leonhardt. All of these interpreters share a certain intellectual sobriety and restraint in style, scrupulous in the best sense of that word. That is not to say that individual personalities do not express themselves in such matters as registration and tone color. Curtis brings a deeply sonorous, weighty sound to the English and French Suites (in which, incidentally, he does not observe all the repeats). Much the same can be said of the various works performed by Staier. Van Asperen employs a somewhat more chiseled, staccato touch with emphatic accents to his traversal of the toccatas. Wilson surprised me with his resort to a more transparent, almost Italianate sound palette in the WTC than I would have expected from his modern copy of a German instrument. Leonhardt himself occupies a median position between his pupils, favoring a somewhat dry instrumental timbre, though he surprises one with the colors and sonorities he can produce from it. Not surprisingly, given his mammoth traversal of the 555 sonatas of Domenico Scarlatti, Ross brings an appropriately light, graceful, Italianate touch to his performances of the partitas, Italian Concerto, and Overture. With Baumont the scale tilts back again toward the weightier, more resonant end of the instrument’s tonal spectrum. Barchi surprised me in the opposite manner of Wilson, as an Italian harpsichordist who employs an exceptionally dark, sonorous, even lush registration. The one consistent disappointment comes with Ruzicková, whose harshly metallic, overly bright sound triggers unpleasant memories of the notorious Pleyel instruments of Wanda Landowska, and is unfortunately accentuated by close miking.

As with the sacred works, this is a situation in which, although I would not argue that any of the recordings of the major works here should be anyone’s first choice, they are mostly all very fine performances that make worthy additions to any Bach collection. (Quite surprisingly, not one of these performances has a review in the Fanfare Archive; the review of Leonhardt’s Goldberg Variations is of his earlier 1953 recording.) Briefly, I would single out all the performances by Curtis, Staier, Barchi, and Baumont as being deeply satisfying and competitive with any others in the catalog. Those by van Asperen and Scott also are gratifying, if not as immediately appealing. A step behind that is Wilson’s WTC ; while many critics have praised it highly, I connect with it only intermittently and come away from it with considerable respect but not great affection. At the risk of speaking rank heresy, I have not always been very fond of Leonhardt’s solo recordings of Bach’s keyboard works, as some of them seem too stiff and self-conscious (though with other composers, such as Couperin and Frohberger, he blossomed before the microphone). In his book Inside Early Music , Bernard Sherman quoted Leonhardt as saying that in the recording studio he tried to play “neatly,” but in concert he tried to play “beautifully.” This recording of the Goldberg Variations is a case in point, being of a severely rigorous, over-analytical cast, though it seems to loosen up partway through and by its close succeeds in drawing the listener further in with an intellectually convincing if not emotionally engaging conception. On the other hand, Ruzicková disappoints as much interpretively as she does sonically; her performances are percussive and mechanical, bulldozing their way through one piece after another with no inflection or relaxation. This is particularly unfortunate in that it is far easier to go outside a collection such as this one to find a preferred recording of a major work such as the WTC than it is to find a satisfactory collection of Bach’s minor keyboard compositions.

Good order returns to the portion of the set devoted to Bach’s chamber music, in recordings dating between 1965 and 1999, as the works are mostly presented in BWV catalog sequence. The lute works, BWV 995–1000 and 1006a, are somewhat idiosyncratically performed on a combination of lute (Luca Pianca) and harpsichord (Michele Barchi). Thanks to Barchi’s aforementioned usually dark and sonorous sound palette, the two instruments match uncommonly well, and the interpretations are delivered with an improvisatory rhythmic freedom redolent of Italian and French schools of keyboard and lute performance rather than German ones. The performances of the violin sonatas and partitas by Thomas Zehetmair (played here on a modern instrument) have their admirers, but I emphatically am not among them. For me, his performances join the keyboard performances of Ruzicková as being among the few outright failures in this set, played with scratchy, ugly tone, less than faultless intonation, and no feeling whatsoever for what this music actually can express. One would never guess that he was a pupil of Nathan Milstein, whose immortal DG album of these works remains the imperishable standard. The cello suites with Harnoncourt were originally made for the Musical Heritage Society in 1965; I believe it was the first set to be recorded using period instruments. Alas, Harnoncourt’s great gifts as a Bach conductor do not translate here into great solo cello playing; these are earnest performances that get the job done but lack ebullience and color, and the rather arid recorded acoustic is likewise unflattering. Fortunately this, too, has a cornucopia of superior alternatives (see my review of the Gavriel Lipkind set in Fanfare 35:3 for a fuller discussion). Matters get back on track, and stay there almost until the end, with a fine set of violin sonatas, BWV 1014–1019, featuring Alice Harnoncourt on violin, husband Nikolaus on the viola da gamba, and Herbert Tachezi at the harpsichord; the violin sonatas, BWV 1019a, 1021, and 1023, with John Holloway on violin, Susan Sheppard on cello, and Davitt Moroney at the harpsichord; the BWV 1025 Trio and BWV 1206 Fugue for harpsichord and violin with Werner Ehrhardt and Gerald Hambitzer; and the gamba sonatas, BWV 1027–1029, with Harnoncourt and Herbert Tachezi. Duties in the solo flute works are divided several ways. Leopold Stasny on flute, Harnoncourt on viola da gamba, and Tachezi at the harpsichord collaborate in BWV 1030, 1032, 1034, and 1035; they are joined in BWV 1038 by Alice Harnoncourt on the violin and in BWV 1039 by Frans Brüggen on the second flute. On a second disc, BWV 1013, 1031, and 1033 enjoy the star-studded team of Jean-Pierre Rampal on flute, Jordi Savall on viola da gamba, and Robert Veyron-Lacroix on the harpsichord; Reinhard Goebel and his Musica Antiqua Köln (including Andreas Staier at the harpsichord) perform the Canons, BWV 1072–1078 and 1086; and dual harpsichordists Ton Koopman and Tini Mathot play the “Fuga a 3 Soggetti” from the The Art of Fugue . All of these performances are again quite fine, even if Stasny, Harnoncourt, and Tachezi do not quite rise to the level of transcendental beauty attained by Brooklyn Baroque on a 2009 Quill Classics release. Rounding out this section on a somewhat less successful note are renditions of A Musical Offering by Harnoncourt and members of his Concentus Musicus, and the complete The Art of Fugue with Tachezi playing the organ instead of the harpsichord. The Harnoncourt is a staid affair compared to the riches offered by either Reinhard Goebel and his Musica Antiqua Köln on DG or the Kuijken Klan (go ahead and groan) on Deutsche Harmonia Mundi. For the Kunst der Fuge , the first issue is whether one has a strong preference for a performance of it on organ, harpsichord, or piano, or an arrangement for an instrumental ensemble. If one wants to hear it on the organ as done here, then Lionel Rogg on EMI is a far better choice than this overly sober affair. On harpsichord, a fine budget entry is Sébastian Guillot on Naxos, while Pierre-Laurent Aimard offers an excellent new piano rendition on DG.

The final section of this set, containing the orchestral works, rightly draws—with one glaring exception—upon classic recordings from the Teldec catalog, dating from the late 1960s to the early 1990s. Harnoncourt and Concentus Musicus perform the four orchestral suites (the later set from 1985); the violin concerti, BWV 1041–1043, 1052R, and 1056R, the Sinfonia BWV 1056R, the Violin-and-Oboe Concerto, BWV 1060R, the Oboe d’Amore Concerto, BWV 1055R, and the Harpsichord Concerto, BWV 1052, with violinist Alice Harnoncourt, second violinist Walter Pfeiffer (in BWV 1043), oboist Jürg Schaeftlein, and harpsichordist Herbert Tachezi as the soloists. Leonhardt and his Consort perform all the other concerti for one to four harpsichords, BWV 1053–1058, 1059R, and 1060–1065, and the Concerto for Flute, Violin, and Harpsichord, BWV 1044, with flutist Frans Brüggen and additional solo harpsichordists Anneke Uittenbosch, Alan Curtis, Eduard Müller, and Janny van Wering. Christopher Hogwood and the Academy of Ancient Music perform the Sinfonia, BWV 1046a, the alternative version of the Brandenburg Concerto No. 5, BWV 1050a, and the Concerto for Three Violins, BWV 1064R, with violinists Christopher Hirons, Monica Huggett, and Catherine Mackintosh. The glaring—no, infuriating—exception comes with the Brandenburg Concertos, in which Teldec inexplicably—no, insanely—bypassed its two sets of Harnoncourt recordings to include instead an utterly awful version by Giovanni Antonini and Il Giardino Armonico of Milan. (See the on-target review by Bernard Jacobson in 21:4, which rightly termed this “a perfectly vile release.”) Whoever at Teldec is responsible for this travesty should have his tonsils cut out. (I would like to suggest an anatomical location further south for infliction of this punishment, but decorum forbids it.)

The supplemental DVD is an hour-long program on Bach from a BBC series titled Great Composers , narrated by renowned Shakespearean actor Kenneth Branagh. The lowbrow level at which it is pitched can be gleaned immediately from the opening seconds, in which brief snippets of familiar masterpieces by various composers are played in souped-up pop arrangements. The talking heads include (among others) pianists András Schiff and Charles Rosen, organist Peter Hurford, organist-conductor Ton Koopman, and conductor John Eliot Gardiner. There are a few nice shots of churches, castles, and of Gardiner’s forces in studio rehearsals, but nothing much substantial or memorable. There is also the commonplace ploy of introducing the topic of religion—unavoidable in discussing Bach—only to undercut it with subsequent cavalier dismissals. (Karen Armstrong, author of numerous shallow books on religious topics, displays her usual degree of knowledge in such matters with her risible statement that Protestants seek contact with God solely through Scripture and therefore have “no sacraments.”)

Overall, then, how does this set compare with the competing complete Bach editions on Brilliant Classics and Hänssler? Quite simply, it surpasses them both, but some details are in order.

The Brilliant Classics set is, for the most part, mediocre to awful. Its newly recorded set of the sacred cantatas with a group of Dutch performers features a conductor, chorus, and instrumental ensemble that are merely adequate, and soloists who are painful examples of period-performance practice at its most provincial. The keyboard works, all performed on harpsichord, were for the most part also newly recorded with several well-known Dutch harpsichordists (excepting the French Suites with Joseph Payne, licensed from BIS), with results ranging from excellent (Payne, van Asperen in the English Suites, and Pieter-Jan Belder in the partitas and Goldberg Variations ) to disappointing (Leon Berben in the Well-Tempered Clavier , who also makes numerous and inexplicably wrong-headed choices of inferior textual variants in Book 1, despite the existence of an unusually neat manuscript from Bach’s own hand). Unfortunately, some of the recordings made especially for this set (for example, the English Suites) are swamped with an overly resonant acoustic that muddies the sound and sometimes introduces electronic distortion. Most of the other performances are licensed from various other labels, with mixed results. The best item by far is the set of Bach organ works with Hans Fagius, originally issued by BIS. The remaining sacred and secular vocal works receive generally good if not outstanding readings, while the chamber and orchestral works are of uneven quality, overall acceptable but not competitive with many superior versions.

The Hänssler set is considerably better, but still not quite on the same plane as Teldec’s in the caliber of the performances. Its great strength is the complete set of sacred and secular cantatas with Helmut Rilling directing the Gächinger Kantorei and Bach-Collegium of Stuttgart. These performances are comparatively old-fashioned in that they are played on modern instruments (though to some degree observant of period practice) and feature vocal soloists (many of them leading international stars) who sing with correspondingly heavier voices also suitable for 19th-century operatic and Lieder repertoire. However, the performances are all deeply felt, and the singing and playing range from solid to superb. The various shorter sacred vocal works also receive top-notch readings that compare equally or favorably with their Teldec counterparts. Unfortunately, most of the large-scale sacred vocal works (the B-Minor Mass, the St. Matthew Passion, and the oratorios) are markedly inferior, being rather ponderous (the exception being the riveting account of the St. John Passion that remains my absolute favorite recording of the work). The organ and keyboard works are performed by a mixture of artists; in the keyboard works the Hänssler artists employ various instruments—harpsichord, clavichord, lautenwerk, and piano—rather than just harpsichord. These performances vary in quality, but in almost every case I would rate those in the Teldec set much more highly. The renditions of the chamber and orchestral works are the other Achilles heel of Hänssler, where the performances on modern instruments are uniformly heavy and stodgy in comparison with their fleet and lively period-instrument competitors on Teldec.

By way of compensation, the Hänssler set has several desirable features that the Teldec set lacks. It includes a greater number of the spurious or doubtful Bach works for organ and keyboard. If I have not misread or miscounted here, the most important differences (this is not an absolutely comprehensive cross-index) are as follows:

(1) In the vocal works, Hänssler offers the complete sacred Lieder and arias, BWV 439–518, instead of the severely potted version provided by Teldec, plus BWV 231, 1081–1083, and 1088 omitted from the Teldec set. Teldec, on the other hand, has several variant versions of choruses and arias that I do not readily find listed in the Hänssler set.

(2) In the instrumental works, Hänssler includes BWV 573, 574, 585–587, 631, 695, 711, 744, 753, 762, 764, 765, 820, 824, 837, 839, 905, 907–909, 919, 932, 957, 990, 1040, and 1121 omitted by Teldec, but omits BWV 561, 576, 598, 740, 755, 763, 844, 898, 1022, and 1059 included by Teldec. More importantly, Hänssler also offers integral sets of the 1722 and 1725 Klavierbüchlein für Anna Magdalena Bach and the 1720–23 Klavierbüchlein für Wilhelm Friedemann Bach , whereas Teldec includes only a few excerpts of items that Bach did not recycle into other collected keyboard works. Hänssler offers alternative and reconstructed versions of BWV 1046, 1052, 1053, 1055, 1056 (two different versions), 1060, 1061, and 1064, whereas Teldec omits reconstructions of BWV 1053 and 1061 and has only one reconstruction of BWV 1056.

The Hänssler set contains 172 CDs as opposed to only 153 for Teldec, though most of the difference is due to overall slower performances. Hänssler also provides a CD-ROM with the complete texts of the vocal works and extensive program notes in four languages (some 5,000 pages total, should you wish to print it all out; I wish Hänssler had thought to segregate the notes and texts for each language separately.) Teldec’s failure to include a comparable CD-ROM in its set is a real black mark against it; but Warner has already shown with its other budget CD rereleases that there is no corner it is not willing to cut to save a pfennig on production costs. Both sets sell for about $300, and either one is an absolute steal at those prices.

If you have pockets deep enough to afford both the Teldec and Hänssler sets, by all means get them—though Hänssler also sells portions of its Bach edition, such as the complete sacred and secular cantatas, in separate smaller boxed sets, and also sells most of the contents as separate one- or two-CD sets as well. However, if you can only afford one complete edition, then buy this Teldec set as the first choice, as the overall superior and consistently excellent performances ultimately trump the shortcomings in ancillary materials, and supplement it from individual Hänssler CD issues or desirable recordings on other labels. It is an inevitable, indeed obligatory choice, for the 2012 Want List; no one who seriously claims to love great music can forego its acquisition at the first affordable opportunity.

FANFARE: James A. Altena
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1.

Wie schön leuchtet der Morgenstern, BWV 1 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 25 Minutes 32 Secs.
Language: German

2.

Ach Gott, vom Himmel sieh' darein, BWV 2 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 18 Minutes 55 Secs.
Language: German

3.

Ach Gott, wie manches Herzeleid, BWV 3 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 23 Minutes 44 Secs.
Language: German

4.

Christ lag in Todesbanden, BWV 4 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Max van Egmond (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1708; Weimar, Germany
Date of Recording: 1970-75
Length: 20 Minutes 9 Secs.
Language: German

5.

Wo soll ich fliehen hin?, BWV 5 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 22 Minutes 46 Secs.
Language: German

6.

Bleib bei uns, denn es will Abend werden, BWV 6 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 18 Minutes 52 Secs.
Language: German

7.

Christ, unser Herr, zum Jordan kam, BWV 7 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Cambridge King's College Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 25 Minutes 58 Secs.
Language: German

8.

Liebster Gott, wenn werd' ich sterben?, BWV 8 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Regensburg Cathedral Choir soloists, Cambridge King's College Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 19 Minutes 3 Secs.
Language: German

9.

Es ist das Heil uns kommen her, BWV 9 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Regensburg Cathedral Choir soloists, Cambridge King's College Choir
Period: Baroque
Written: circa 1732-1735; Leipzig, Germany
Date of Recording: 1970-75
Length: 24 Minutes 45 Secs.
Language: German

10.

Meine Seel' erhebt den Herren, BWV 10 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Regensburg Cathedral Choir soloists, Cambridge King's College Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 21 Minutes 53 Secs.
Language: German

11.

Lobet Gott in seinen Reichen, BWV 11 "Ascension Oratorio" by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Max van Egmond (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1735; Leipzig, Germany
Date of Recording: 1970-75
Length: 28 Minutes 53 Secs.
Language: German

12.

Weinen, Klagen, Sorgen, Zagen, BWV 12 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1714; Weimar, Germany
Date of Recording: 1970-75
Length: 23 Minutes 41 Secs.
Language: German

13.

Meine Seufzer, meine Tränen, BWV 13 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Walter Gampert (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 23 Minutes 13 Secs.
Language: German

14.

Wär Gott nicht mit uns diese Zeit, BWV 14 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Marius Van Altena (Tenor), Peter Hinterreiter (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1735; Leipzig, Germany
Date of Recording: 1970-75
Length: 17 Minutes 42 Secs.
Language: German

15.

Herr Gott, dich loben wir, BWV 16 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Marius Van Altena (Tenor), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 18 Minutes 5 Secs.
Language: German

16.

Wer Dank opfert, der preiset mich, BWV 17 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 17 Minutes 49 Secs.
Language: German

17.

Gleich wie der Regen und Schnee vom Himmel fällt, BWV 18 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: ?1715; Cöthen, Germany
Date of Recording: 1970-75
Length: 14 Minutes 21 Secs.
Language: German

18.

Es erhub sich ein Streit, BWV 19 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 19 Minutes 39 Secs.
Language: German

19.

O Ewigkeit, du Donnerwort, BWV 20 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 26 Minutes 51 Secs.
Language: German

20.

Ich hatte viel Bekümmernis, BWV 21 by Johann Sebastian Bach
Performer: Walker Wyatt (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1970-75
Length: 36 Minutes 51 Secs.
Language: German

21.

Jesus nahm zu sich die Zwölfe, BWV 22 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1723; Cöthen, Germany
Date of Recording: 1970-75
Length: 17 Minutes 47 Secs.
Language: German

22.

Du wahrer Gott und Davids Sohn, BWV 23 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Marius Van Altena (Tenor), Max van Egmond (Bass),
Peter Hinterreiter (Boy Soprano), Walter Gampert (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Cambridge King's College Choir
Period: Baroque
Written: 1723; Cöthen, Germany
Date of Recording: 1970-75
Length: 22 Minutes 57 Secs.
Language: German

23.

Ein ungefärbt Gemüte von deutscher Treu und Güte, BWV 24 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1970-75
Length: 17 Minutes 8 Secs.
Language: German

24.

Es ist nichts Gesundes an meinem Leibe, BWV 25 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1970-75
Length: 15 Minutes 18 Secs.
Language: German

25.

Ach wie flüchtig, ach wie nichtig, ist der Menschen Leben, BWV 26 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Siegmund Nimsgern (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 16 Minutes 39 Secs.
Language: German

26.

Wer weiss, wie nahe mir mein Ende, BWV 27 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Siegmund Nimsgern (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 15 Minutes 30 Secs.
Language: German

27.

Gottlob! nun geht das Jahr zu Ende, BWV 28 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Siegmund Nimsgern (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 15 Minutes 56 Secs.
Language: German

28.

Wir danken dir, Gott, BWV 29 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 1970-75
Length: 23 Minutes 23 Secs.
Language: German

29.

Freue dich, erlöste Schar, BWV 30 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1738; Leipzig, Germany
Date of Recording: 1970-75
Length: 37 Minutes 31 Secs.
Language: German

30.

Der Himmel lacht! die Erde jubilieret, BWV 31 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Siegmund Nimsgern (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1970-75
Length: 20 Minutes 59 Secs.
Language: German

31.

Liebster Jesu, mein Verlangen, BWV 32 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Walter Gampert (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 23 Minutes 43 Secs.
Language: German

32.

Allein zu dir, Herr Jesu Christ, BWV 33 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), René Jacobs (Countertenor), Marius Van Altena (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 21 Minutes 17 Secs.
Language: German

33.

O ewiges Feuer, O Ursprung der Liebe, BWV 34 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Siegmund Nimsgern (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: after 1740; Leipzig, Germany
Date of Recording: 1970-75
Length: 18 Minutes 20 Secs.
Language: German

34.

Geist und Seele wird verwirret, BWV 35 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 26 Minutes 57 Secs.
Language: German

35.

Schwingt freudig euch empor, BWV 36 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Ruud Van der Meer (Bass), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 1970-75
Length: 30 Minutes 2 Secs.
Language: German

36.

Wer da gläubet und getauft wird, BWV 37 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 16 Minutes 24 Secs.
Language: German

37.

Aus tiefer Not schrei'ich zu dir, BWV 38 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 18 Minutes 36 Secs.
Language: German

38.

Brich dem Hungrigen dein Brot, BWV 39 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Max van Egmond (Bass), Marius Van Altena (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir Members, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 24 Minutes 46 Secs.
Language: German

39.

Dazu ist erschienen der Sohn Gottes, BWV 40 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Marius Van Altena (Tenor), René Jacobs (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1970-75
Length: 15 Minutes 8 Secs.
Language: German

40.

Jesu, nun sei gepreiset, BWV 41 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ruud Van der Meer (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 27 Minutes 30 Secs.
Language: German

41.

Am Abend aber desselbigen Sabbats, BWV 42 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1970-75
Length: 27 Minutes 12 Secs.
Language: German

42.

Gott fähret auf mit Jauchzen, BWV 43 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 20 Minutes 44 Secs.
Language: German

43.

Sie werden euch in den Bann tun, BWV 44 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1970-75
Length: 17 Minutes 21 Secs.
Language: German

44.

Es ist dir gesagt, Mensch, was gut ist, BWV 45 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Hanns-Friedrich Kunz (Bass), René Jacobs (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir Members, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 19 Minutes 12 Secs.
Language: German

45.

Schauet doch und sehet, ob irgend ein Schmerz sei, wie mein Schmerz, BWV 46 by Johann Sebastian Bach
Performer: Hanns-Friedrich Kunz (Bass), René Jacobs (Countertenor), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir Members, Hanover Boys' Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1970-75
Length: 16 Minutes 28 Secs.
Language: German

46.

Wer sich selbst erhöhet, der soll erniedriget werden, BWV 47 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1970-75
Length: 22 Minutes 19 Secs.
Language: German

47.

Ich elender Mensch, wer wird mich erlösen vom Leibe dieses Todes, BWV 48 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 16 Minutes 3 Secs.
Language: German

48.

Ich geh' und suche mit Verlangen, BWV 49 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 25 Minutes 24 Secs.
Language: German

49.

Nun ist das Heil und die Kraft, BWV 50 [fragment] by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: ?1723; ?Leipzig, Germany
Date of Recording: 1967-78
Length: 3 Minutes 38 Secs.
Language: German

50.

Jauchzet Gott in allen Landen, BWV 51 by Johann Sebastian Bach
Performer: Marianne Kweksilber (Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Written: 1730
Date of Recording: 1967-78
Length: 17 Minutes 51 Secs.
Language: German

51.

Falsche Welt, dir trau' ich nicht, BWV 52 by Johann Sebastian Bach
Performer: Seppi Kronwitter (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 16 Minutes 26 Secs.
Language: German

52.

Widerstehe doch der Sünde, BWV 54 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1967-78
Length: 12 Minutes 28 Secs.
Language: German

53.

Ich armer Mensch, ich Sündenknecht, BWV 55 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 13 Minutes 0 Secs.
Language: German

54.

Ich will den Kreuzstab gerne tragen, BWV 56 by Johann Sebastian Bach
Performer: Michael Schopper (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 18 Minutes 57 Secs.
Language: German

55.

Selig ist der Mann, der die Anfechtung erdulet, BWV 57 by Johann Sebastian Bach
Performer: Peter Jelosits (Boy Soprano), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Written: 1725
Date of Recording: 1967-78
Length: 22 Minutes 24 Secs.
Language: German

56.

Ach Gott, wie manches Herzeleid, BWV 58 by Johann Sebastian Bach
Performer: Peter Jelosits (Boy Soprano), Seppi Kronwitter (Boy Soprano), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1727; Leipzig, Germany
Date of Recording: 1967-78
Length: 12 Minutes 14 Secs.
Language: German

57.

Wer mich liebet, der wird mein Wort halten, BWV 59 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: circa 1723-1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 12 Minutes 8 Secs.
Language: German

58.

O Ewigkeit, du Donnerwort, BWV 60 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 16 Minutes 9 Secs.
Language: German

59.

Nun komm, der Heiden Heiland, BWV 61 by Johann Sebastian Bach
Performer: Seppi Kronwitter (Boy Soprano), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1967-78
Length: 14 Minutes 39 Secs.
Language: German

60.

Nun komm, der Heiden Heiland, BWV 62 by Johann Sebastian Bach
Performer: Peter Jelosits (Boy Soprano), Ruud Van der Meer (Bass), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 19 Minutes 45 Secs.
Language: German

61.

Christen, ätzet diesen Tag, BWV 63 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass),
Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Tölz Boys Choir
Period: Baroque
Written: 1713-1715; Cöthen, Germany
Date of Recording: 1967-78
Length: 28 Minutes 54 Secs.
Language: German

62.

Sehet, welch eine Liebe, BWV 64 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Paul Esswood (Countertenor), Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 20 Minutes 12 Secs.
Language: German

63.

Sie werden aus Saba alle kommen, BWV 65 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 16 Minutes 45 Secs.
Language: German

64.

Erfreut euch, ihr Herzen, entweichet ihr Schmerzen, es lebet der Heiland, BWV 66 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 31 Minutes 15 Secs.
Language: German

65.

Halt im Gedächtnis Jesum Christ, der auferstanden ist von der Todten, BWV 67 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 13 Minutes 32 Secs.
Language: German

66.

Also hat Gott die Welt geliebt, BWV 68 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Peter Jelosits (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 16 Minutes 49 Secs.
Language: German

67.

Lobe den Herrn, meine Seele; und vergiss nicht, was er dir Gutes getan, BWV 69 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: circa 1743; Leipzig, Germany
Date of Recording: 1967-78
Length: 10 Minutes 50 Secs.
Language: German

68.

Lobe den Herrn, meine Seele, BWV 69a by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor),
Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 19 Minutes 26 Secs.
Language: German

69.

Wachet! Betet! Betet! Wachet!, BWV 70 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor),
Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 22 Minutes 8 Secs.
Language: German

70.

Gott ist mein König, BWV 71 by Johann Sebastian Bach
Performer: Lieuwe Visser (Bass), Wilhelm Wiedl (Boy Soprano), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1708; Mühlhausen, Germany
Date of Recording: 1967-78
Length: 18 Minutes 7 Secs.
Language: German

71.

Alles nur nach Gottes Willen, BWV 72 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Paul Esswood (Countertenor), Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 17 Minutes 29 Secs.
Language: German

72.

Herr, wie du willt, so schicks mit mir, BWV 73 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 14 Minutes 57 Secs.
Language: German

73.

Wer mich liebet, der wird mein Wort halten, BWV 74 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Jörg Erler (Boy Soprano), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 21 Minutes 29 Secs.
Language: German

74.

Die Elenden sollen essen, dass sie satt werden, BWV 75 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Paul Esswood (Countertenor), Adalbert Kraus (Tenor),
Markus Klein (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1723; Cöthen, Germany
Date of Recording: 1967-78
Length: 33 Minutes 9 Secs.
Language: German

75.

Die Himmel erzählen die Ehre Gottes, BWV 76 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Ruud Van der Meer (Bass), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 30 Minutes 32 Secs.
Language: German

76.

Du sollst Gott, deinen Herren Lieben, BWV 77 by Johann Sebastian Bach
Performer: Adalbert Kraus (Tenor), Max van Egmond (Bass), Detlef Bratschke (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 15 Minutes 49 Secs.
Language: German

77.

Jesu, der du meine Seele, BWV 78 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Wilhelm Wiedl (Boy Soprano), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 21 Minutes 12 Secs.
Language: German

78.

Gott, der Herr, ist Sonn und Schild, BWV 79 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass),
Detlef Bratschke (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 15 Minutes 36 Secs.
Language: German

79.

Ich hab in Gottes Herz und Sinn mein Herz und Sinn ergeben, BWV 92 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Detlef Bratschke (Boy Soprano),
Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 29 Minutes 16 Secs.
Language: German

80.

Ein feste Burg ist unser Gott, BWV 80 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Ruud Van der Meer (Bass), Kurt Equiluz (Tenor),
Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: by 1744; Leipzig, Germany
Date of Recording: 1967-78
Length: 22 Minutes 58 Secs.
Language: German

81.

Jesus schläft, was soll ich hoffen?, BWV 81 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ruud Van der Meer (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 15 Minutes 58 Secs.
Language: German

82.

Ich habe genug, BWV 82 by Johann Sebastian Bach
Performer: Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: 1727; Cöthen, Germany
Date of Recording: 1967-78
Length: 20 Minutes 39 Secs.
Language: German

83.

Erfreute Zeit im neuen Bunde, BWV 83 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Paul Esswood (Countertenor), Philippe Huttenlocher (Bass),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir, Vienna Boys' Choir ...
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 20 Minutes 22 Secs.
Language: German

84.

Ich bin vergnügt mit meinem Glücke, das mir der liebe Gott beschert, BWV 84 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir, Vienna Boys' Choir
Period: Baroque
Written: 1727; Leipzig, Germany
Date of Recording: 1967-78
Length: 13 Minutes 22 Secs.
Language: German

85.

Ich bin ein guter Hirt, BWV 85 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ruud Van der Meer (Bass), Paul Esswood (Countertenor),
Wilhelm Wiedl (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir, Vienna Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 15 Minutes 12 Secs.
Language: German

86.

Wahrlich, wahrlich ich sage euch, BWV 86 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Paul Esswood (Countertenor), Ruud Van der Meer (Bass),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir, Vienna Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 13 Minutes 2 Secs.
Language: German

87.

Bisher habt ihr nichts gebeten in meinem Namen, BWV 87 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1967-78
Length: 17 Minutes 37 Secs.
Language: German

88.

Siehe, ich will viel Fischer aussenden, BWV 88 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Detlef Bratschke (Boy Soprano), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 18 Minutes 34 Secs.
Language: German

89.

Was soll ich aus dir machen, Ephraim, BWV 89 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Markus Klein (Boy Soprano), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 12 Minutes 26 Secs.
Language: German

90.

Es reisset euch ein schrecklich Ende, ihr sündlichen verächter, hin, BWV 90 by Johann Sebastian Bach
Performer: Markus Klein (Boy Soprano), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 12 Minutes 14 Secs.
Language: German

91.

Gelobet seist du, Jesu Christ, BWV 91 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Detlef Bratschke (Boy Soprano),
Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 18 Minutes 2 Secs.
Language: German

92.

Wer nur den lieben Gott lässt walten, BWV 93 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Wilhelm Wiedl (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 18 Minutes 3 Secs.
Language: German

93.

Was frag ich nach der Welt und allen ihren Schatten wenn ich mich nur an dir, mein Jesu, BWV 94 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Philippe Huttenlocher (Bass), Wilhelm Wiedl (Boy Soprano),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 24 Minutes 52 Secs.
Language: German

94.

Christus, der ist mein Leben, BWV 95 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Philippe Huttenlocher (Bass), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1967-78
Length: 14 Minutes 36 Secs.
Language: German

95.

Herr Christ, der ein'ge Gottessohn, BWV 96 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Philippe Huttenlocher (Bass), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany

96.

In allen meinen Taten, BWV 97 by Johann Sebastian Bach
Performer: Ruud Van der Meer (Bass), Wilhelm Wiedl (Boy Soprano), Philippe Huttenlocher (Bass),
Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1734; Leipzig, Germany
Date of Recording: 1967-78
Length: 26 Minutes 38 Secs.
Language: German

97.

Was Gott tut, das ist wohlgetan, BWV 98 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor),
Wilhelm Wiedl (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1967-78
Length: 14 Minutes 27 Secs.
Language: German

98.

Was Gott tut, das ist wohlgetan, BWV 99 by Johann Sebastian Bach
Performer: Wilhelm Wiedl (Boy Soprano), Philippe Huttenlocher (Bass), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1967-78
Length: 18 Minutes 18 Secs.
Language: German

99.

Was Gott tut, das ist wohlgetan, BWV 100 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Detlef Bratschke (Boy Soprano), Paul Esswood (Countertenor),
Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: circa 1735; Leipzig, Germany
Date of Recording: 1978-84
Length: 23 Minutes 47 Secs.
Language: German

100.

Nimm von uns, Herr, du treuer Gott, BWV 101 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Wilhelm Wiedl (Boy Soprano), Philippe Huttenlocher (Bass),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 24 Minutes 4 Secs.
Language: German

101.

Herr, deine Augen sehen nach dem Glauben, BWV 102 by Johann Sebastian Bach
Performer: Philippe Huttenlocher (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1978-84
Length: 21 Minutes 21 Secs.
Language: German

102.

Ihr werdet weinen und heulen, aber die Welt wird sich Freuen, BWV 103 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 16 Minutes 17 Secs.
Language: German

103.

Du Hirte Israel, höre, BWV 104 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 18 Minutes 18 Secs.
Language: German

104.

Herr, gehe nicht ins Gericht mit deinem Knecht, BWV 105 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Wilhelm Wiedl (Boy Soprano), Kurt Equiluz (Tenor),
Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 21 Minutes 0 Secs.
Language: German

105.

Gottes Zeit ist die allerbeste, BWV 106 "Actus tragicus" by Johann Sebastian Bach
Performer: Raphael Harten (Countertenor), Marius Van Altena (Tenor), Max van Egmond (Bass),
Markus Klein (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Hanover Boys' Choir
Period: Baroque
Written: by 1708; Mühlhausen, Germany
Date of Recording: 1978-84
Length: 20 Minutes 11 Secs.
Language: German

106.

Was willst du dich betrüben, o meine liebe Seel', BWV 107 by Johann Sebastian Bach
Performer: Markus Klein (Boy Soprano), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 18 Minutes 31 Secs.
Language: German

107.

Es ist euch gut, das ich hingehe, BWV 108 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Ruud Van der Meer (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 16 Minutes 1 Secs.
Language: German

108.

Ich glaube, lieber Herr, hilf meinem Unglauben!, BWV 109 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Wilhelm Wiedl (Boy Soprano), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 25 Minutes 19 Secs.
Language: German

109.

Unser Mund sei voll Lachens, BWV 110 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Stefan Frangoulis (Boy Soprano),
Ruud Van der Meer (Bass), Wilhelm Wiedl (Boy Soprano), Siegfried Lorenz (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 24 Minutes 55 Secs.
Language: German

110.

Was mein Gott will, das g'scheh allzeit, BWV 111 by Johann Sebastian Bach
Performer: Markus Huber (Boy Soprano), Paul Esswood (Countertenor), Ruud Van der Meer (Bass),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 17 Minutes 8 Secs.
Language: German

111.

Der Herr ist mein getreuer Hirt, BWV 112 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ruud Van der Meer (Bass), Markus Huber (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 1978-84
Length: 13 Minutes 40 Secs.
Language: German

112.

Herr Jesu Christ, du höchstes Gut, BWV 113 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Kurt Equiluz (Tenor), Detlef Bratschke (Countertenor),
Max van Egmond (Bass), Sebastian Hennig (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 25 Minutes 37 Secs.
Language: German

113.

Ach, lieben Christen, seid getrost, BWV 114 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Max van Egmond (Bass), Sebastian Hennig (Boy Soprano),
Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 24 Minutes 1 Secs.
Language: German

114.

Mache dich, mein Geist, bereit, BWV 115 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 21 Minutes 55 Secs.
Language: German

115.

Du Freidefürst, Herr Jesu Christ, BWV 116 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 14 Minutes 34 Secs.
Language: German

116.

Sei Lob und Ehr dem höchsten Gut, BWV 117 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), René Jacobs (Countertenor), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 19 Minutes 20 Secs.
Language: German

117.

Preise, Jerusalem, den Herrn, BWV 119 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Markus Huber (Boy Soprano), Paul Esswood (Countertenor),
Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 25 Minutes 18 Secs.
Language: German

118.

Gott, mann lobet dich in der Stille, BWV 120 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Markus Huber (Boy Soprano), Paul Esswood (Countertenor),
Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1728-1729; Leipzig, Germany
Date of Recording: 1978-84
Length: 21 Minutes 17 Secs.
Language: German

119.

Christum wir sollen loben schon, BWV 121 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Markus Huber (Boy Soprano), Paul Esswood (Countertenor),
Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 20 Minutes 23 Secs.
Language: German

120.

Das neugeborne Kindelein, BWV 122 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Markus Huber (Boy Soprano), Thomas Schilling (Countertenor),
Philippe Huttenlocher (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 14 Minutes 25 Secs.
Language: German

121.

Liebster Immanuel, Herzog der Frommen, BWV 123 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Stefan Rampf (Boy Alto), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 21 Minutes 20 Secs.
Language: German

122.

Meinen Jesum lass ich nicht, BWV 124 by Johann Sebastian Bach
Performer: Alan Bergius (Boy Soprano), Stefan Rampf (Boy Alto), Kurt Equiluz (Tenor),
Thomas Thomaschke (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 13 Minutes 24 Secs.
Language: German

123.

Mit Fried und Freud ich fahr dahin, BWV 125 by Johann Sebastian Bach
Performer: Thomas Thomaschke (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 23 Minutes 50 Secs.
Language: German

124.

Erhalt uns, Herr, bei dienem Wort, BWV 126 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Thomas Thomaschke (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 17 Minutes 9 Secs.
Language: German

125.

Herr Jesu Christ, wahr' Mensch und Gott, BWV 127 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Sebastian Hennig (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 20 Minutes 1 Secs.
Language: German

126.

Auf Christi Himmelfahrt allein, BWV 128 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), René Jacobs (Countertenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Written: 1725
Date of Recording: 1978-84
Length: 17 Minutes 43 Secs.
Language: German

127.

Gelobet sei der Herr, mein Gott, BWV 129 by Johann Sebastian Bach
Performer: Sebastian Hennig (Boy Soprano), René Jacobs (Countertenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1978-84
Length: 20 Minutes 4 Secs.
Language: German

128.

Herr Gott, dich loben alle wir, BWV 130 by Johann Sebastian Bach
Performer: Stefan Rampf (Boy Alto), Walter Heldwein (Bass), Alan Bergius (Boy Soprano),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 15 Minutes 49 Secs.
Language: German

129.

Aus der Tiefen rufe ich, Herr, zu dir, BWV 131 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Alan Bergius (Boy Soprano), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1707; Mühlhausen, Germany
Date of Recording: 1978-84
Length: 25 Minutes 1 Secs.
Language: German

130.

Bereitet die Wege, bereitet die Bahn!, BWV 132 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Sebastian Hennig (Boy Soprano), Marius Van Altena (Tenor),
René Jacobs (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1715; Weimar, Germany
Date of Recording: 1978-84
Length: 18 Minutes 54 Secs.
Language: German

131.

Ich freue mich in dir, BWV 133 by Johann Sebastian Bach
Performer: Sebastian Hennig (Boy Soprano), René Jacobs (Countertenor), Marius Van Altena (Tenor),
Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 20 Minutes 47 Secs.
Language: German

132.

Ein Herz, das seinen Jesum lebend weiss, BWV 134 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Marius Van Altena (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 26 Minutes 30 Secs.
Language: German

133.

Ach Herr, mich armen Sünder straf nicht in deinem Zorn, BWV 135 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Marius Van Altena (Tenor), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 14 Minutes 13 Secs.
Language: German

134.

Erforsche mich, Gott, und erfahre mein Herz, prüfe mich und erfahre, wie ich's meine, BWV 136 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Paul Esswood (Countertenor), Walter Heldwein (Bass),
Alan Bergius (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 16 Minutes 51 Secs.
Language: German

135.

Lobe den Herrn, den mächtigen König der Ehren, BWV 137 by Johann Sebastian Bach
Performer: Albert Hartinger (Bass), Paul Esswood (Countertenor), Kurt Equiluz (Tenor),
Alan Bergius (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 14 Minutes 6 Secs.
Language: German

136.

Warum betrübst du dich, mein Herz?, BWV 138 by Johann Sebastian Bach
Performer: Alan Bergius (Boy Soprano), Kurt Equiluz (Tenor), Stefan Rampf (Boy Alto),
Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 17 Minutes 14 Secs.
Language: German

137.

Wohl dem, der sich auf seinen Gott recht kindlich kann verlassen!, BWV 139 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Alan Bergius (Boy Soprano), Stefan Rampf (Boy Alto),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724-1725; Leipzig, Germany
Date of Recording: 1978-84
Length: 18 Minutes 47 Secs.
Language: German

138.

Wachet auf, ruft uns die Stimme, BWV 140 by Johann Sebastian Bach
Performer: Thomas Hampson (Bass), Kurt Equiluz (Tenor), Alan Bergius (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 1978-84
Length: 28 Minutes 29 Secs.
Language: German

139.

Lobe den Herrn, meine Seele, BWV 143 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Roger Cericius (Boy Soprano), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: Leipzig, Germany
Date of Recording: 1978-84
Length: 13 Minutes 9 Secs.
Language: German

140.

Nimm, was dein ist, und gehe hin, BWV 144 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Ansgar Pfeiffer (Boy Soprano), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1978-84
Length: 13 Minutes 11 Secs.
Language: German

141.

Ich lebe, mein Herze, zu deinem Ergötzen, BWV 145 by Johann Sebastian Bach
Performer: Thomas Hampson (Bass), Kurt Equiluz (Tenor), Alan Bergius (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 1978-84
Length: 9 Minutes 38 Secs.
Language: German

142.

Wir müssen durch viel Trübsal in das Reich Gottes eingehen, BWV 146 by Johann Sebastian Bach
Performer: Thomas Hampson (Bass), Paul Esswood (Countertenor), Alan Bergius (Boy Soprano),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1728; Leipzig, Germany
Date of Recording: 1978-84
Length: 38 Minutes 2 Secs.
Language: German

143.

Herz und Mund und Tat und Leben, BWV 147 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Thomas Hampson (Bass), Stefan Rampf (Boy Alto),
Alan Bergius (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Written: 1723
Date of Recording: 1978-84
Length: 31 Minutes 36 Secs.
Language: German

144.

Bringet dem Herrn Ehre seines Namens, betet an den Herrn in Heil'gem Schmuck, BWV 148 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978-84
Length: 17 Minutes 35 Secs.
Language: German

145.

Man singet mit Freuden vom Sieg, BWV 149 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Sebastian Hennig (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1728; Leipzig, Germany
Date of Recording: 1978-84
Length: 19 Minutes 19 Secs.
Language: German

146.

Nach dir, Herr, verlanget mich, BWV 150 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Max van Egmond (Bass), Kurt Equiluz (Tenor),
Ansgar Pfeiffer (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: circa 1708-1709; Cöthen, Germany
Date of Recording: 1983-88
Length: 15 Minutes 34 Secs.
Language: German

147.

Süsser Trost, mein Jesus kömmt, BWV 151 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Sebastian Hennig (Boy Soprano), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Written: 1725
Date of Recording: 1983-88
Length: 16 Minutes 12 Secs.
Language: German

148.

Tritt auf die Glaubensbahn, BWV 152 by Johann Sebastian Bach
Performer: Christoph Wegmann (Boy Soprano), Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1983-88
Length: 19 Minutes 8 Secs.
Language: German

149.

Schau, lieber Gott, wie meine Feind', BWV 153 by Johann Sebastian Bach
Performer: Stefan Rampf (Boy Alto), Kurt Equiluz (Tenor), Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 15 Minutes 6 Secs.
Language: German

150.

Mein liebster Jesus ist verloren, BWV 154 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 15 Minutes 59 Secs.
Language: German

151.

Mein Gott, wie lang, ach lange, BWV 155 by Johann Sebastian Bach
Performer: Alan Bergius (Boy Soprano), Kurt Equiluz (Tenor), Thomas Hampson (Bass),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1716; Cöthen, Germany
Date of Recording: 1983-88
Length: 14 Minutes 8 Secs.
Language: German

152.

Ich steh' mit einem Fuss im Grabe, BWV 156 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Christoph Wegmann (Boy Soprano), Thomas Hampson (Bass),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 1983-88
Length: 16 Minutes 22 Secs.
Language: German

153.

Ich lasse dich nicht, du segnest mich denn, BWV 157 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: ?1728; Leipzig, Germany
Date of Recording: 1983-88
Length: 19 Minutes 35 Secs.
Language: German

154.

Der Friede sei mit dir, BWV 158 by Johann Sebastian Bach
Performer: Christoph Wegmann (Boy Soprano), Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: after 1723; Leipzig, Germany
Date of Recording: 1983-88
Length: 11 Minutes 32 Secs.
Language: German

155.

Sehet, wir gehn hinauf gen Jerusalem, BWV 159 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Max van Egmond (Bass), Kurt Equiluz (Tenor),
Tobias Eiwanger (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 1983-88
Length: 14 Minutes 36 Secs.
Language: German

156.

Komm, du süsse Todesstunde, BWV 161 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1983-88
Length: 18 Minutes 13 Secs.
Language: German

157.

Ach, ich sehe, itzt, da ich zu Hochzeit gehe, BWV 162 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Tobias Eiwanger (Boy Soprano),
Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1983-88
Length: 16 Minutes 37 Secs.
Language: German

158.

Nur jedem das Seine, BWV 163 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Kurt Equiluz (Tenor), Tobias Eiwanger (Boy Soprano),
Panito Iconomou (Boy Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1983-88
Length: 14 Minutes 14 Secs.
Language: German

159.

Ihr, die ihr euch von Christo nennet, BWV 164 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Christoph Wegmann (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: 1728; Leipzig, Germany
Date of Recording: 1883-88
Length: 17 Minutes 26 Secs.
Language: German

160.

O heiliges Geist- und Wasserbad, das Gottes Reich uns einverliebet, BWV 165 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Max van Egmond (Bass), Paul Esswood (Countertenor),
Tobias Eiwanger (Boy Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1983-88
Length: 12 Minutes 31 Secs.
Language: German

161.

Wo gehest du hin?, BWV 166 by Johann Sebastian Bach
Performer: Christoph Wegmann (Boy Soprano), Max van Egmond (Bass), Kurt Equiluz (Tenor),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Tölz Boys Choir, Ghent Collegium Vocale
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 17 Minutes 53 Secs.
Language: German

162.

Ihr Menschen, rühmet Gottes Liebe, BWV 167 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Panito Iconomou (Boy Alto), Kurt Equiluz (Tenor),
Helmut Wittek (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1983-88
Length: 18 Minutes 42 Secs.
Language: German

163.

Tue Rechnung! Donnerwort, BWV 168 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Christian Immler (Boy Alto), Helmut Wittek (Boy Soprano),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1983-88
Length: 13 Minutes 27 Secs.
Language: German

164.

Gott soll allein mein Herze haben, BWV 169 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Robert Holl (Bass), Helmut Wittek (Boy Soprano),
Paul Esswood (Boy Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1983-88
Length: 22 Minutes 39 Secs.
Language: German

165.

Vergnügte Ruh, beliebte Seelenlust, BWV 170 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1983-88
Length: 22 Minutes 42 Secs.
Language: German

166.

Gott, wie dein Name, so ist auch dein Ruhm, BWV 171 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Helmut Wittek (Boy Soprano), Kurt Equiluz (Tenor),
Panito Iconomou (Boy Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: ?1729; Leipzig, Germany
Date of Recording: 1983-88
Length: 16 Minutes 1 Secs.
Language: German

167.

Lobe den Erschallet, ihr Lieder, erklinget ihr Saiten!, BWV 172 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Marius Van Altena (Tenor), Matthias Echternach (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1714; Weimar, Germany
Date of Recording: 1983-88
Length: 16 Minutes 47 Secs.
Language: German

168.

Erhöhtes Fleisch und Blut, BWV 173 by Johann Sebastian Bach
Performer: Alan Bergius (Boy Soprano), Kurt Equiluz (Tenor), Robert Holl (Bass),
Stefan Gienger (Boy Soprano), Christian Immler (Boy Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 13 Minutes 56 Secs.
Language: German

169.

Ich liebe den Höchsten von ganzem Gemüte, BWV 174 by Johann Sebastian Bach
Performer: Christian Immler (Boy Alto), Kurt Equiluz (Tenor), Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 1983-88
Length: 20 Minutes 37 Secs.
Language: German

170.

Er rufet seinen Schafen mit Namen und führet sie hinaus, BWV 175 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Marius Van Altena (Tenor), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1983-88
Length: 16 Minutes 57 Secs.
Language: German

171.

Es ist ein trotzig und verzagt Ding um aller Menschen Herze, BWV 176 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Matthias Echternach (Boy Soprano), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1983-88
Length: 12 Minutes 21 Secs.
Language: German

172.

Ich ruf zu dir, Herr Jesu Christ, BWV 177 by Johann Sebastian Bach
Performer: Helmut Wittek (Boy Soprano), Panito Iconomou (Boy Alto), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1732; Leipzig, Germany
Date of Recording: 1983-88
Length: 24 Minutes 53 Secs.
Language: German

173.

Wo Gott, der Herr, nicht bei uns hält wenn unsre Feinden toben, BWV 178 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Panito Iconomou (Boy Alto), Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 20 Minutes 12 Secs.
Language: German

174.

Siehe zu, dass deine Gottesfurcht nicht Heuchelei sei, BWV 179 by Johann Sebastian Bach
Performer: Helmut Wittek (Boy Soprano), Kurt Equiluz (Tenor), Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1983-88
Length: 12 Minutes 54 Secs.
Language: German

175.

Schmücke dich, o liebe Seele, lass die dunkle Sünden höhle, komm an's helle Licht gegangen, BWV 180 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Jan Patrick O'Farrell (Boy Soprano), Paul Esswood (Countertenor),
Marius Van Altena (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 24 Minutes 53 Secs.
Language: German

176.

Leichtgesinnte Flattergeister, BWV 181 by Johann Sebastian Bach
Performer: Max van Egmond (Bass), Kurt Equiluz (Tenor), Alexander Raymann (Boy Soprano),
Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 12 Minutes 48 Secs.
Language: German

177.

Himmelskönig sei willkommen, BWV 182 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Robert Holl (Bass), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1983-88
Length: 30 Minutes 50 Secs.
Language: German

178.

Sie werden euch in den Bann tun, BWV 183 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Kurt Equiluz (Tenor), Helmut Wittek (Boy Soprano),
Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1983-88
Length: 13 Minutes 37 Secs.
Language: German

179.

Erwünschtes Freudenlicht, BWV 184 by Johann Sebastian Bach
Performer: Alexander Raymann (Boy Soprano), Paul Esswood (Countertenor), Kurt Equiluz (Tenor),
Max van Egmond (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 23 Minutes 26 Secs.
Language: German

180.

Barmherziges Herze der ewigen Liebe, BWV 185 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Helmut Wittek (Boy Soprano), Thomas Hampson (Bass),
Kurt Equiluz (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1715; Cöthen, Germany
Date of Recording: 1983-88
Length: 14 Minutes 15 Secs.
Language: German

181.

Ärgre dich, o Seele, nicht, BWV 186 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Robert Holl (Bass), Kurt Equiluz (Tenor),
Helmut Wittek (Boy Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1983-88
Length: 27 Minutes 32 Secs.
Language: German

182.

Es wartet alles auf dich, dass du ihnen Speise, BWV 187 by Johann Sebastian Bach
Performer: Michael Emmermann (Boy Soprano), Max van Egmond (Bass), Paul Esswood (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1983-88
Length: 23 Minutes 5 Secs.
Language: German

183.

Ich habe meine Zuversicht auf den getreuen Gott gericht, BWV 188 by Johann Sebastian Bach
Performer: Helmut Wittek (Boy Soprano), Kurt Equiluz (Tenor), Robert Holl (Bass),
Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: ?1728; Leipzig, Germany
Date of Recording: 1983-88
Length: 24 Minutes 50 Secs.
Language: German

184.

Nun danket alle Gott, BWV 192 by Johann Sebastian Bach
Performer: Helmut Wittek (Boy Soprano), Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1730; Leipzig, Germany
Date of Recording: 1983-88
Length: 12 Minutes 13 Secs.
Language: German

185.

Höchsterwünschtes Freudenfest, BWV 194 by Johann Sebastian Bach
Performer: Hans Stricker (Boy Soprano), Kurt Equiluz (Tenor), Thomas Hampson (Bass),
Stefan Gienger (Boy Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1983-88
Length: 39 Minutes 13 Secs.
Language: German

186.

Dem Gerechten muss das Licht, BWV 195 by Johann Sebastian Bach
Performer: Jan Patrick O'Farrell (Boy Soprano), John Elwes (Tenor), Harry Van der Kamp (Bass),
René Jacobs (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: circa 1737; Leipzig, Germany
Date of Recording: 1983-88
Length: 18 Minutes 57 Secs.
Language: German

187.

Der Herr denket an uns, BWV 196 by Johann Sebastian Bach
Performer: Helmut Wittek (Boy Soprano), Kurt Equiluz (Tenor), Thomas Hampson (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Tölz Boys Choir
Period: Baroque
Written: ?1708; Weimar, Germany
Date of Recording: 1983-88
Length: 12 Minutes 12 Secs.
Language: German

188.

Gott ist unser Zuversicht, BWV 197 by Johann Sebastian Bach
Performer: Jan Patrick O'Farrell (Boy Soprano), Kurt Equiluz (Tenor), Harry Van der Kamp (Bass),
René Jacobs (Countertenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1739-1742; Leipzig, Germany
Date of Recording: 1983-88
Length: 30 Minutes 1 Secs.
Language: German

189.

Lass, Fürstin, lass noch einen Strahl, BWV 198 by Johann Sebastian Bach
Performer: René Jacobs (Countertenor), Harry Van der Kamp (Bass), Jan Patrick O'Farrell (Boy Soprano),
John Elwes (Tenor)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort, Ghent Collegium Vocale, Hanover Boys' Choir
Period: Baroque
Written: 1727; Leipzig, Germany
Date of Recording: 1983-88
Length: 35 Minutes 14 Secs.
Language: German

190.

Mein Herze schwimmt im Blut, BWV 199 by Johann Sebastian Bach
Performer: Barbara Bonney (Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1983-88
Length: 23 Minutes 42 Secs.
Language: German

191.

Die Zeit, die Tag und Jahre macht, BWV 134a by Johann Sebastian Bach
Performer: Paul Agnew (Tenor), Michael Chance (Countertenor)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1719; Cöthen, Germany
Date of Recording: 1999
Venue: Waalse Church, Amsterdam, Netherlands
Length: 36 Minutes 1 Secs.
Language: German

192.

Durchlauchtster Leopold, BWV 173a by Johann Sebastian Bach
Performer: Klaus Mertens (Bass), Lisa Larsson (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: circa ?1722; Germany
Date of Recording: 1999
Venue: Waalse Church, Amsterdam, Netherlands
Length: 18 Minutes 40 Secs.
Language: German

193.

Der Streit zwischen Phoebus und Pan, BWV 201 by Johann Sebastian Bach
Performer: Klaus Mertens (Bass), Jeremy Ovenden (Tenor), Paul Agnew (Tenor),
Peter de Groot (Countertenor), Caroline Stam (Soprano), Donald Bentvelsen (Bass)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: ?1729; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 47 Minutes 27 Secs.
Language: German

194.

Ich bin in mir vergnügt, BWV 204 by Johann Sebastian Bach
Performer: Lisa Larsson (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra
Period: Baroque
Written: 1726-1727; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 24 Minutes 51 Secs.
Language: German

195.

Weichet nur, betrübte Schatten, BWV 202 "Wedding Cantata" by Johann Sebastian Bach
Performer: Agnes Giebel (Soprano)
Conductor: Jaap Schröder
Orchestra/Ensemble: Concerto Amsterdam
Period: Baroque
Written: circa 1718-1723; Cöthen, Germany
Length: 21 Minutes 31 Secs.
Language: German

196.

Amore traditore, BWV 203 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord), Jacques Villisech (Bass)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: Germany
Length: 14 Minutes 26 Secs.
Language: Italian

197.

Non sa che sia dolore, BWV 209 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord), Agnes Giebel (Soprano)
Conductor: Gustav Leonhardt
Orchestra/Ensemble: Leonhardt Consort
Period: Baroque
Written: ?1734; Leipzig, Germany
Length: 23 Minutes 54 Secs.
Language: Italian

198.

Vereingte Zwietracht der wechselnden Saiten, BWV 207 by Johann Sebastian Bach
Performer: Dorothea Röschmann (Soprano), Axel Köhler (Countertenor), Hans-Georg Wimmer (Bass),
Christoph Genz (Tenor)
Conductor: Reinhard Goebel
Orchestra/Ensemble: Ex Tempore, Musica Antiqua Cologne
Period: Baroque
Written: 1726; Germany
Date of Recording: 1996
Venue: Broadcast Hall, German Radio, Cologne
Length: 33 Minutes 1 Secs.
Language: German

199.

Schleicht spielende Wellen, BWV 206 by Johann Sebastian Bach
Performer: Jacques Villisech (Bass), Tom Brand (Tenor), Wilhelmine Mattès (Alto),
Irmgard Jacobeit (Soprano)
Conductor: André Rieu
Orchestra/Ensemble: Amsterdam Chamber Orchestra, Monteverdi Choir Hamburg
Period: Baroque
Written: 10/07/1733; Leipzig, Germany
Length: 42 Minutes 9 Secs.
Language: German

200.

Der zufriedengestellte Äolus, BWV 205 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Yvonne Kenny (Soprano), Marjana Lipovsek (Alto),
Robert Holl (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Arnold Schoenberg Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Length: 40 Minutes 53 Secs.
Language: German

201.

Schweigt stille, plaudert nicht, BWV 211 "Coffee Cantata" by Johann Sebastian Bach
Performer: Rotraud Hansmann (Soprano), Kurt Equiluz (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: circa 1734-1735; Leipzig, Germany
Length: 27 Minutes 2 Secs.
Language: German

202.

Auf, schmetternde Töne, BWV 207a by Johann Sebastian Bach
Performer: Sibylla Rubens (Soprano), Elisabeth von Magnus (Alto), Anne Grimm (Soprano),
Christoph Prégardien (Tenor), Klaus Mertens (Bass)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1735; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 33 Minutes 43 Secs.
Language: German

203.

O holder Tag, erwünschte Zeit, BWV 210 by Johann Sebastian Bach
Performer: Lisa Larsson (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra
Period: Baroque
Written: ?1740; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 32 Minutes 39 Secs.
Language: German

204.

Was mir behagt, ist nur die muntre Jagd!, BWV 208 "Hunt Cantata" by Johann Sebastian Bach
Performer: Yvonne Kenny (Soprano), Robert Holl (Bass), Kurt Equiluz (Tenor),
Angela Maria Blasi (Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Arnold Schoenberg Choir
Period: Baroque
Written: 1713; Cöthen, Germany
Date of Recording: 05/1988
Venue: Zögernitz Casino, Vienna, Austria
Length: 33 Minutes 31 Secs.
Language: German

205.

Mer Hahn en neue Oberkeet, BWV 212 "Peasant Cantata" by Johann Sebastian Bach
Performer: Robert Holl (Bass), Angela Maria Blasi (Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus
Period: Baroque
Written: 1742; Leipzig, Germany
Date of Recording: 05/1988
Venue: Zögernitz Casino, Vienna, Austria
Length: 30 Minutes 26 Secs.
Language: German

206.

Hercules auf dem Scheidewege, BWV 213 by Johann Sebastian Bach
Performer: Anne Grimm (Soprano), Christoph Prégardien (Tenor), Elisabeth von Magnus (Alto),
Klaus Mertens (Bass)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: by 1733; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 45 Minutes 38 Secs.
Language: German

207.

Tönet, ihr Pauken! Erschallet Trompeten!, BWV 214 by Johann Sebastian Bach
Performer: Elisabeth von Magnus (Alto), Paul Agnew (Tenor), Klaus Mertens (Bass),
Els Bongers (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1733; Leipzig, Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 25 Minutes 25 Secs.
Language: German

208.

Preise dein Glücke, gesegnetes Sachsen, BWV 215 by Johann Sebastian Bach
Performer: Klaus Mertens (Bass), Els Bongers (Soprano), Paul Agnew (Tenor)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: Germany
Date of Recording: 1996
Venue: Waalse Church, Amsterdam, Netherlands
Length: 32 Minutes 22 Secs.
Language: German

209.

Singet dem Herrn ein neues Lied, BWV 190 by Johann Sebastian Bach
Performer: Elisabeth von Magnus (Alto), Klaus Mertens (Bass), Paul Agnew (Tenor)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1997
Venue: Waalse Church, Amsterdam, Netherlands
Length: 16 Minutes 16 Secs.
Language: German

210.

Gloria in excelsis Deo, BWV 191 by Johann Sebastian Bach
Performer: Paul Agnew (Tenor), Caroline Stam (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Written: after 1740
Length: 14 Minutes 44 Secs.
Language: German

211.

Ihr Tore zu Zion, BWV 193 by Johann Sebastian Bach
Performer: Caroline Stam (Soprano), Michael Chance (Countertenor), Paul Agnew (Tenor)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1727; Germany
Length: 19 Minutes 50 Secs.
Language: German

212.

Christen, ätzet diesen Tag, BWV 63 by Johann Sebastian Bach
Performer: Ruth Holton (Soprano), Klaus Mertens (Bass)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1713-1715; Cöthen, Germany
Date of Recording: 1995
Venue: Waalse Church, Amsterdam, Netherlands
Length: 6 Minutes 45 Secs.
Language: German

213.

Himmelskönig sei willkommen, BWV 182 by Johann Sebastian Bach
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1714; Cöthen, Germany
Date of Recording: 1995
Venue: Waalse Church, Amsterdam, Netherlands
Length: 4 Minutes 37 Secs.
Language: German

214.

Schwingt freudig euch empor, BWV 36c by Johann Sebastian Bach
Performer: Edith Mathis (Soprano), Siegfried Lorenz (Bass), Peter Schreier (Tenor)
Conductor: Peter Schreier
Orchestra/Ensemble: Berlin Chamber Orchestra, Berlin Soloists
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1979
Venue: Christ Church, Berlin, Germany
Length: 26 Minutes 44 Secs.
Language: German

215.

Bekennen will ich seinen Namen, BWV 200 by Johann Sebastian Bach
Performer: Barbara Scherler (Alto)
Conductor: Fritz Werner
Orchestra/Ensemble: Pforzheim Southwest German Chamber Orchestra
Period: Baroque
Written: ?1742; Leipzig, Germany
Length: 3 Minutes 54 Secs.
Language: German

216.

Mass in B minor, BWV 232 by Johann Sebastian Bach
Performer: Kurt Equiluz (Tenor), Robert Holl (Bass), Angela Maria Blasi (Soprano),
Delores Ziegler (Soprano), Jadwiga Rappé (Alto)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Arnold Schoenberg Choir
Period: Baroque
Written: 1747-49; Leipzig, Germany
Date of Recording: 1986
Venue: Vienna, Austria
Length: 110 Minutes 2 Secs.
Language: Latin

217.

Missa brevis in F major, BWV 233 by Johann Sebastian Bach
Performer: Claudine Perret (Alto), Nicole Rossier-Maradan (Mezzo Soprano), Hannah Schaer (Alto),
Mauricette Capt (Soprano), Wally Staempfli (Soprano), Michel Brodard (Bass),
Philippe Huttenlocher (Bass)
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: after 1735; Leipzig, Germany
Length: 28 Minutes 51 Secs.
Language: Latin

218.

Missa brevis in A major, BWV 234 by Johann Sebastian Bach
Performer: Michel Brodard (Bass), Philippe Huttenlocher (Bass), Hannah Schaer (Alto),
Claudine Perret (Alto), Nicole Rossier-Maradan (Mezzo Soprano), Wally Staempfli (Soprano),
Mauricette Capt (Soprano)
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: after 1735; Leipzig, Germany
Length: 35 Minutes 38 Secs.
Language: Latin

219.

Sanctus in D minor, BWV 239 by Johann Sebastian Bach
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: 1730s; Leipzig, Germany
Length: 1 Minutes 44 Secs.
Language: Latin

220.

Sanctus in G major, BWV 240 by Johann Sebastian Bach
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: 1730s; Leipzig, Germany
Length: 2 Minutes 44 Secs.
Language: Latin

221.

Sanctus in D major, BWV 241 by Johann Sebastian Bach
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: circa 1747; Leipzig, Germany
Length: 2 Minutes 8 Secs.
Language: Latin

222.

Missa brevis in G major, BWV 236 by Johann Sebastian Bach
Performer: Michel Brodard (Bass), Philippe Huttenlocher (Bass), Olivier Dufour (Tenor),
John Elwes (Tenor), Hannah Schaer (Alto), Claudine Perret (Alto),
Nicole Rossier-Maradan (Mezzo Soprano), Mauricette Capt (Soprano), Wally Staempfli (Soprano)
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: after 1735; Leipzig, Germany
Length: 29 Minutes 34 Secs.
Language: Latin

223.

Missa brevis in G minor, BWV 235 by Johann Sebastian Bach
Performer: John Elwes (Tenor), Hannah Schaer (Alto), Nicole Rossier-Maradan (Mezzo Soprano),
Olivier Dufour (Tenor), Claudine Perret (Alto), Philippe Huttenlocher (Bass),
Michel Brodard (Bass)
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: after 1735; Leipzig, Germany
Length: 32 Minutes 22 Secs.
Language: Latin

224.

Sanctus in D major, BWV 238 by Johann Sebastian Bach
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: 1723-1724; Leipzig, Germany
Length: 3 Minutes 22 Secs.
Language: Latin

225.

Christe eleison in g minor, BWV 242 by Johann Sebastian Bach
Performer: Hannah Schaer (Alto), Claudine Perret (Alto), Nicole Rossier-Maradan (Mezzo Soprano),
Wally Staempfli (Soprano), Mauricette Capt (Soprano)
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Chamber Orchestra
Period: Baroque
Written: Germany
Length: 2 Minutes 11 Secs.
Language: Latin

226.

Sanctus in C major, BWV 237 by Johann Sebastian Bach
Conductor: Michel Corboz
Orchestra/Ensemble: Lausanne Vocal Ensemble, Lausanne Chamber Orchestra
Period: Baroque
Written: 1723; Leipzig, Germany
Length: 1 Minutes 43 Secs.
Language: Latin

227.

Magnificat in D major, BWV 243 by Johann Sebastian Bach
Performer: Paul Esswood (Countertenor), Heldrun Gardow (Soprano), Robert Holl (Bass),
Kurt Equiluz (Tenor), Hildegard Heichele (Soprano)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir
Period: Baroque
Written: circa 1728-1731; Leipzig, Germany
Venue: Vienna, Austria
Length: 27 Minutes 26 Secs.
Language: Latin

228.

Magnificat in E flat major, BWV 243a by Johann Sebastian Bach
Performer: Emma Kirkby (Soprano), Judith Nelson (Soprano), Paul Elliott (Tenor),
Carolyn Watkinson (Alto), David Thomas (Bass)
Conductor: Simon Preston
Orchestra/Ensemble: Academy of Ancient Music, Christ Church Cathedral Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1978
Venue: St. Paul's, Arnos Grove, London
Length: 35 Minutes 34 Secs.
Language: Latin

229.

Saint Matthew Passion, BWV 244 by Johann Sebastian Bach
Performer: Karl Ridderbusch (Bass), Paul Esswood (Countertenor), Tom Sutcliffe (Countertenor),
James Bowman (Countertenor), Kurt Equiluz (Tenor), Michael Schopper (Bass),
Nigel Rogers (Tenor), Max van Egmond (Bass)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Regensburg Cathedral Choir, Cambridge King's College Choir ...
Period: Baroque
Written: Circa 1727; Leipzig, Germany
Date of Recording: 1970
Venue: Vienna, Austria
Length: 174 Minutes 28 Secs.
Language: German

230.

Christmas Oratorio, BWV 248 by Johann Sebastian Bach
Performer: Siegmund Nimsgern (Bass), Kurt Equiluz (Tenor), Paul Esswood (Countertenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Chorus Viennensis, Vienna Boys' Choir ...
Period: Baroque
Written: 1734-1735; Leipzig, Germany
Date of Recording: 1972
Venue: Vienna, Austria
Length: 154 Minutes 21 Secs.
Language: German

231.

Tilge, Höchster, meine Sünden, BWV 1083 by Johann Sebastian Bach
Conductor: Gunar Letzbor
Orchestra/Ensemble: Ars Antiqua Austria, St. Florian Children's Choir
Period: Baroque
Written: 1741-1746; Leipzig, Germany
Date of Recording: 1995
Venue: St. Florian Cathedral, Austria
Length: 42 Minutes 52 Secs.
Language: German

232.

Easter Oratorio, BWV 249 by Johann Sebastian Bach
Performer: Lisa Larsson (Soprano), Klaus Mertens (Bass), Gerd Türk (Tenor),
Elisabeth von Magnus (Alto), Elisabeth von Magnus (Soprano)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Orchestra, Amsterdam Baroque Choir
Period: Baroque
Written: 1732-1735; Leipzig, Germany
Date of Recording: 1998
Venue: Amsterdam, The Netherlands
Length: 41 Minutes 3 Secs.
Language: German

233.

Saint John Passion, BWV 245: no 11a, Himmel, reisse, Welt erbebe by Johann Sebastian Bach
Performer: Olaf Bär (Baritone)
Conductor: Peter Schreier
Orchestra/Ensemble: Dresden Staatskapelle
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1988
Venue: Dresden, Germany
Length: 4 Minutes 19 Secs.
Language: German

234.

Saint John Passion, BWV 245: no 13a, Zerschmettert mich, ihr Felsen und ihr Hugel by Johann Sebastian Bach
Performer: Peter Schreier (Tenor)
Conductor: Peter Schreier
Orchestra/Ensemble: Dresden Staatskapelle
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1988
Venue: Dresden, Germany
Length: 4 Minutes 51 Secs.
Language: German

235.

Saint John Passion, BWV 245: no 19a, Ach windet euch so, geplagte Seelen by Johann Sebastian Bach
Performer: Peter Schreier (Tenor)
Conductor: Peter Schreier
Orchestra/Ensemble: Dresden Staatskapelle
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 1988
Venue: Dresden, Germany
Length: 5 Minutes 56 Secs.
Language: German

236.

Saint John Passion, BWV 245 by Johann Sebastian Bach
Performer: Robert Holl (Bass), Anton Scharinger (Bass), Marjana Lipovsek (Alto),
Franz Leitner (Tenor), Angela Maria Blasi (Soprano), Anthony Rolfe Johnson (Tenor)
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Arnold Schoenberg Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 1993
Venue: Vienna, Austria
Length: 110 Minutes 5 Secs.
Language: German

237.

Singet Dem Hern, BWV 225 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Nikolaus Harnoncourt, Robin Gritton
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir, Berlin Radio Chorus
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 12 Minutes 44 Secs.
Language: German

238.

Der Geist hilft unser Schwachheit auf, BWV 226 by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 7 Minutes 40 Secs.
Language: German

239.

Komm, Jesu, komm!, BWV 229 by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir
Period: Baroque
Written: circa 1725-1749; Leipzig, Germany
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 7 Minutes 48 Secs.
Language: German

240.

Jesu, meine Freude, BWV 227 by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir
Period: Baroque
Written: 1723; Leipzig, Germany
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 20 Minutes 1 Secs.
Language: German

241.

Fürchte dich nicht, ich bin bei dir, BWV 228 by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir
Period: Baroque
Written: 1726; Leipzig, Germany
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 8 Minutes 2 Secs.
Language: German

242.

Lobet den Herrn, alle Heiden, BWV 230 by Johann Sebastian Bach
Conductor: Nikolaus Harnoncourt
Orchestra/Ensemble: Vienna Concentus Musicus, Stockholm Bach Choir
Period: Baroque
Written: circa 1723-1729; Leipzig, Germany
Date of Recording: 1979
Venue: Stockholm, Sweden
Length: 5 Minutes 45 Secs.
Language: German

243.

Ach, bleib' bei uns, Herr Jesu Christ, BWV 253 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 47 Secs.
Language: German

244.

Ach Gott, erhör' mein Seufen, BWV 254 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 59 Secs.
Language: German

245.

Ach Gott und Herr, BWV 255 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 44 Secs.
Language: German

246.

Ach lieben Christen, seid getrost, BWV 256 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 10 Secs.
Language: German

247.

Wär' Gott nicht mit uns diese Zeit, BWV 257 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 10 Secs.
Language: German

248.

Wo Gott der Herr nicht bei uns Hält, BWV 258 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 52 Secs.
Language: German

249.

Ach, was soll ich Sünder machen, BWV 259 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 2 Secs.
Language: German

250.

Allein Gott in der Höh' sei Ehr', BWV 260 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 4 Secs.
Language: German

251.

Allein zu dir, Herr Jesu Christ, BWV 261 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 38 Secs.
Language: German

252.

Alle Menschen müssen sterben, BWV 262 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 6 Secs.
Language: German

253.

Alles ist an Gottes Segen, BWV 263 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 46 Secs.
Language: German

254.

Als der gütige Gott, BWV 264 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 26 Secs.
Language: German

255.

Als Jesus Christus in der Nacht, BWV 265 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 40 Secs.
Language: German

256.

Als vierzig Tag' nach Ostern war, BWV 266 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 46 Secs.
Language: German

257.

An Wasserflüssen Babylon, BWV 267 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 46 Secs.
Language: German

258.

Auf, auf, mein Herz, und du, mein ganzer Sinn, BWV 268 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 55 Secs.
Language: German

259.

Aus meines Herzens Grunde, BWV 269 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 4 Secs.
Language: German

260.

Befiehl du deine Wege, BWV 270 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 22 Secs.
Language: German

261.

Dem Herren musst du trauen, BWV 271 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 21 Secs.
Language: German

262.

Dein' ew'ge Treu' und Gnade, BWV 272 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Katharina Maechler (Cello), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 21 Secs.
Language: German

263.

Christ, der du bist der helle Tag, BWV 273 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 48 Secs.
Language: German

264.

Christe, der du bist Tag und Licht, BWV 274 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 36 Secs.
Language: German

265.

Christe, du Beistand deiner Kreuzgemeinde, BWV 275 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 15 Secs.
Language: German

266.

Christ ist erstanden, BWV 276 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 2 Minutes 15 Secs.
Language: German

267.

Christ lag in Todes Banden, BWV 277 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 5 Secs.
Language: German

268.

Den Tod niemand bezwingen kunt, BWV 278 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 10 Secs.
Language: German

269.

Hier ist das rechte Osterlamm, BWV 279 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 8 Secs.
Language: German

270.

Christ, unser Herr, zum Jordan kam, BWV 280 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: 18th Century; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 29 Secs.
Language: German

271.

Mit Freud fahr ich von dannen, BWV 281 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 33 Secs.
Language: German

272.

Christus, der ist mein Leben, BWV 282 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Katharina Maechler (Cello), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 49 Secs.
Language: German

273.

Christus, der uns selig macht, BWV 283 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 19 Secs.
Language: German

274.

Christus ist erstanden, hat überwunden, BWV 284 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 2 Secs.
Language: German

275.

Da der Herr Christ zu Tische sass, BWV 285 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 4 Secs.
Language: German

276.

Danket dem Herren, denn er ist sehr freundlich, BWV 286 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 33 Secs.
Language: German

277.

Dank sei Gott in der Höhe, BWV 287 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Language: German

278.

Das alte Jahr vergangen ist, BWV 288 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 53 Secs.
Language: German

279.

Wir bitten dich, du ewger Sohn, BWV 289 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 1 Secs.
Language: German

280.

Das walt' Gott Vater und Gott Sohn, BWV 290 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 42 Secs.
Language: German

281.

Das walt' mein Gott, Vater, Sohn und heil'ger Geist, BWV 291 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Katharina Maechler (Cello), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 46 Secs.
Language: German

282.

Den Vater dort oben, BWV 292 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 1 Secs.
Language: German

283.

Der du bist drei in Einigkeit, BWV 293 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 43 Secs.
Language: German

284.

Der Tag, der ist so freudenreich, BWV 294 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 24 Secs.
Language: German

285.

Des heil'gen Geistes reiche Gnad', BWV 295 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 43 Secs.
Language: German

286.

Die Nacht ist kommen, BWV 296 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 14 Secs.
Language: German

287.

Die Sonn' hat sich mit ihrem Glanz gewendet, BWV 297 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 3 Secs.
Language: German

288.

Dies sind die heil'gen zehn Gebot', BWV 298 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: 18th Century; Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 51 Secs.
Language: German

289.

Dir, dir, Jehova, will ich singen, BWV 299 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 51 Secs.
Language: German

290.

Du grosser Schmerzensmann, von Vater so geschlagen, BWV 300 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 16 Secs.
Language: German

291.

Du, o schönes Weltgebäude, BWV 301 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 18 Secs.
Language: German

292.

Ein' feste Burg is unser Gott, BWV 302 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 7 Secs.
Language: German

293.

Mit unsrer Macht ist nichts gethan, BWV 303 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 7 Secs.
Language: German

294.

Eins ist Not! ach Herr, dies Eine, BWV 304 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 57 Secs.
Language: German

295.

Erbarm' dich mein, o Herre Gott, BWV 305 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 28 Secs.
Language: German

296.

Erstanden ist der heil'ge Christ, BWV 306 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 38 Secs.
Language: German

297.

Es ist gewisslich an der Zeit, BWV 307 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 5 Secs.
Language: German

298.

Es spricht der Unweisen Mund wohl, BWV 308 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 17 Secs.
Language: German

299.

Es steh'n vor Gottes Throne, BWV 309 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 25 Secs.
Language: German

300.

Es wird schier der letzte Tag herkommen, BWV 310 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 38 Secs.
Language: German

301.

Es woll' uns Gott genädig sein, BWV 311 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 27 Secs.
Language: German

302.

So danken Gott, und loben dich, BWV 312 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 25 Secs.
Language: German

303.

Für Freuden lasst uns springen, BWV 313 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 52 Secs.
Language: German

304.

Gelobet seist du, Jesu Christ, BWV 314 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 46 Secs.
Language: German

305.

Gib dich zufrieden und sei stille, BWV 315 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 42 Secs.
Language: German

306.

Gott, der du selber bist das Licht, BWV 316 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 25 Secs.
Language: German

307.

Gott, der Vater, wohn' uns bei, BWV 317 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 42 Secs.
Language: German

308.

Gottes Sohn ist kommen, BWV 318 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 54 Secs.
Language: German

309.

Gott hat das Evangelium, BWV 319 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 52 Secs.
Language: German

310.

Gott lebet noch, BWV 320 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 23 Secs.
Language: German

311.

Gottlob, es geht nunmehr zu Ende, BWV 321 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 56 Secs.
Language: German

312.

Gott sei gelobet und gebenedeiet, BWV 322 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 2 Minutes 6 Secs.
Language: German

313.

Gott sei uns gnädig, BWV 323 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 37 Secs.
Language: German

314.

Meine Seele erhebet den Herrn, BWV 324 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 29 Secs.
Language: German

315.

Heilig, heilig, BWV 325 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 2 Minutes 47 Secs.
Language: German

316.

Herr Gott, dich loben alle wir, BWV 326 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Katharina Maechler (Cello), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 36 Secs.
Language: German

317.

Für deinen Thron tret' ich hiermit, BWV 327 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 42 Secs.
Language: German

318.

Herr Gott, dich loben wir, BWV 328 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 6 Minutes 59 Secs.
Language: German

319.

Herr, ich denk' an jene Zeit, BWV 329 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 6 Secs.
Language: German

320.

Herr, ich habe missgehandelt, BWV 330 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 55 Secs.
Language: German

321.

Doch, wie könnt ich dir entfliehen, BWV 331 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 11 Secs.
Language: German

322.

Herr Jesu Christ, dich zu uns wend', BWV 332 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 39 Secs.
Language: German

323.

Herr Jesu Christ, du hast bereit't, BWV 333 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 9 Secs.
Language: German

324.

Herr Jesu Christ, du höchstes Gut, BWV 334 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 16 Secs.
Language: German

325.

Herr Jesu Christ, mein's Lebens Licht, BWV 335 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 46 Secs.
Language: German

326.

Herr Jesu Christ, wah'r Mensch und Gott, BWV 336 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Sigurd Brauns (Organ), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 53 Secs.
Language: German

327.

Herr, nun lass in Friede, BWV 337 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Katharina Maechler (Cello), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 57 Secs.
Language: German

328.

Herr, straf mich nicht in deinem Zorn, BWV 338 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Katharina Maechler (Cello), Laszlo Tamas (Violone)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 20 Secs.
Language: German

329.

Herr, wie du willst, so schick's mit mir, BWV 339 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 20 Secs.
Language: German

330.

Herzlich lieb hab ich dich, o Herr, BWV 340 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 59 Secs.
Language: German

331.

Heut' ist, o Mensch, ein grosser Trauertag, BWV 341 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 59 Secs.
Language: German

332.

Heut' triumphieret Gottes Sohn, BWV 342 by Johann Sebastian Bach
Performer: Sigurd Brauns (Organ), Laszlo Tamas (Violone), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 51 Secs.
Language: German

333.

Hilf, Gott, lass mir's gelinge, BWV 343 by Johann Sebastian Bach
Performer: Katharina Maechler (Cello), Laszlo Tamas (Violone), Sigurd Brauns (Organ)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 1 Minutes 12 Secs.
Language: German

334.

Hilf, Herr Jesu, lass gelingen, BWV 344 by Johann Sebastian Bach
Performer: Laszlo Tamas (Violone), Sigurd Brauns (Organ), Katharina Maechler (Cello)
Conductor: Robin Gritton
Orchestra/Ensemble: Berlin Radio Chorus
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 1998-99
Venue: Berlin, Germany
Length: 0 Minutes 53 Secs.
Language: German

335.

Fugue in G minor, BWV 578 "Little G minor" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1706; Arnstadt, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 3 Minutes 41 Secs.

336.

Canzona in d, BWV 588 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 5 Minutes 8 Secs.

337.

Prelude and Fugue in A minor, BWV 543 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 8 Minutes 43 Secs.

338.

Fantasie and Fugue in C minor, BWV 562 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 4 Minutes 21 Secs.

339.

Prelude and Fugue in C major, BWV 531 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: Arnstadt, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 5 Minutes 59 Secs.

340.

Fantasie in G major, BWV 572 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1706; Arnstadt, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 8 Minutes 10 Secs.

341.

Fantasie in C major, BWV 570 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1707; Arnstadt, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 2 Minutes 21 Secs.

342.

Chorale Preludes (6) BWV 645-650 "Schübler" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Written: c1748-49
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 18 Minutes 18 Secs.

343.

Wo soll ich fliehen hin?, BWV 5: Wo soll ich fliehen hin? by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 42 Secs.
Language: German

344.

Wo soll ich fliehen hin?, BWV 5: Führ auch mein Herz und Sinn by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 41 Secs.
Language: German

345.

Wer nur den lieben Gott lässt walten, BWV 93: Wer nur den lieben Gott lässt walten by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 53 Secs.
Language: German

346.

Wer nur den lieben Gott lässt walten, BWV 93: Sing, bet und geh auf Gottes Wegen by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 54 Secs.
Language: German

347.

Meine Seele erhebet den Herrn, BWV 324 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 28 Secs.
Language: German

348.

Ach, bleib' bei uns, Herr Jesu Christ, BWV 253 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 41 Secs.
Language: German

349.

Selig ist der Mann, der die Anfechtung erdulet, BWV 57: no 8, Richte dich, Liebste by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1725; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 0 Secs.
Language: German

350.

Chorales (18) for Organ, BWV 651-668 "Leipzig" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 93 Minutes 9 Secs.

351.

Wenn wir in höchsten Nöten sein, BWV 431 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 56 Secs.
Language: German

352.

Wer mich liebet, der wird mein Wort halten, BWV 59: Komm, heiliger Geist, Herre Gott by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: circa 1723-1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 39 Secs.
Language: German

353.

Der Geist hilft unser Schwachheit auf, BWV 226: Du heilige Brunst, süsser Trost by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1729; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 35 Secs.
Language: German

354.

An Wasserflüssen Babylon, BWV 267 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 47 Secs.
Language: German

355.

Schmücke dich, o liebe Seele, BWV 180: no 1, Schmücke dich, o liebe Seele by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 4 Secs.
Language: German

356.

Herr Jesu Christ, dich zu uns wend', BWV 332 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 42 Secs.
Language: German

357.

O Lamm Gottes, unschuldig, BWV 401 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 4 Secs.
Language: German

358.

Nun danket alle Gott, BWV 386 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: ?Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 10 Secs.
Language: German

359.

Von Gott will ich nicht lassen, BWV 418 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 57 Secs.
Language: German

360.

Schwingt freudig euch empor, BWV 36: Lob sei Gott dem Vater g'ton by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 11 Secs.
Language: German

361.

Allein Gott in der Höh' sei Ehr', BWV 260 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 2 Minutes 7 Secs.
Language: German

362.

Jesus Christus, unser Heiland, BWV 363 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 57 Secs.
Language: German

363.

Komm, Gott Schöpfer, heiliger Geist, BWV 370 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: by 1787; ?Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 2 Secs.
Language: German

364.

Trio Sonata for Organ no 1 in E flat major, BWV 525 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 12 Minutes 22 Secs.

365.

Trio Sonata for Organ no 3 in D minor, BWV 527 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 13 Minutes 31 Secs.

366.

Trio Sonata for Organ no 4 in E minor, BWV 528 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 9 Minutes 37 Secs.

367.

Trio Sonata for Organ no 5 in C major, BWV 529 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 14 Minutes 21 Secs.

368.

Trio Sonata for Organ no 6 in G major, BWV 530 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 13 Minutes 53 Secs.

369.

Toccata, Adagio and Fugue in C major, BWV 564 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 14 Minutes 1 Secs.

370.

Toccata and Fugue in D minor, BWV 538 "Dorian" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 12 Minutes 34 Secs.

371.

Prelude and Fugue in E major, BWV 566 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1708; Mühlhausen, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 10 Minutes 10 Secs.

372.

Kyrie, Gott Vater in Ewigkeit, BWV 669 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 4 Minutes 31 Secs.

373.

Christe, aller Welt Trost, BWV 670 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 6 Minutes 4 Secs.

374.

Kyrie, Gott heiliger Geist, BWV 671 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 5 Minutes 54 Secs.

375.

Kyrie, Gott Vater in Ewigkeit, BWV 672 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 14 Secs.

376.

Christe, aller Welt Trost, BWV 673 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 9 Secs.

377.

Kyrie, Gott heiliger Geist, BWV 674 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 22 Secs.

378.

Allein Gott in der Höh' sei Ehr', BWV 675 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 41 Secs.

379.

Allein Gott in der Höh' sei Ehr', BWV 676 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 5 Minutes 20 Secs.

380.

Allein Gott in der Höh' sei Ehr', BWV 677 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 15 Secs.

381.

Dies sind die heilgen zehen Gebot, BWV 678 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 6 Minutes 17 Secs.

382.

Dies sind die heiligen zehen Gebot, BWV 679 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 55 Secs.

383.

Wir gläuben all'an einen Gott, BWV 680 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 13 Secs.

384.

Wir gläuben all'an einen Gott, BWV 681 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 42 Secs.

385.

Vater unser im Himmelreich, BWV 682 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 9 Minutes 24 Secs.

386.

Vater unser im Himmelreich, BWV 683 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 42 Secs.

387.

Christ, unser Herr, zum Jordan kam, BWV 684 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 4 Minutes 35 Secs.

388.

Christ, unser Herr, zum Jordan kam, BWV 685 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 1 Minutes 29 Secs.

389.

Aus tiefer Not schrei ich zu dir, BWV 686 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 5 Minutes 40 Secs.

390.

Aus tiefer Not schrei ich zu dir, BWV 687 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 6 Minutes 28 Secs.

391.

Jesus Christus, unser Heiland, BWV 688 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 35 Secs.

392.

Jesus Christus, unser Heiland, BWV 689 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 4 Minutes 48 Secs.

393.

Duet for Organ in E minor, BWV 802 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1739
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 0 Secs.

394.

Duet for Organ in F major, BWV 803 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1739
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 35 Secs.

395.

Duet for Organ in G major, BWV 804 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1739
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 2 Minutes 41 Secs.

396.

Duet for Organ in A minor, BWV 805 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1739
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 3 Minutes 2 Secs.

397.

Vom Himmel hoch, da komm' ich her, BWV 769 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1747; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 15 Minutes 11 Secs.

398.

Fugue in C minor, BWV 575 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1708-1717; ?Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 4 Minutes 21 Secs.

399.

Prelude and Fugue in C minor, BWV 549 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 5 Minutes 38 Secs.

400.

Prelude in G major, BWV 568 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1708; Mühlhausen, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 3 Minutes 10 Secs.

401.

Allabreve in D major, BWV 589 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 4 Minutes 36 Secs.

402.

Prelude and Fugue in G minor, BWV 535 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 6 Minutes 36 Secs.

403.

Prelude and Fugue in E minor, BWV 533 "Little Prelude and Fugue" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1707; Arnstadt, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 4 Minutes 38 Secs.

404.

Prelude in A minor, BWV 569 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1708; Mühlhausen, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 6 Minutes 6 Secs.

405.

Fugue in G major, BWV 577 "Gigue" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 3 Minutes 51 Secs.

406.

Trio for Organ in D minor, BWV 583 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 5 Minutes 42 Secs.

407.

Pedal-Exercitium, BWV 598 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 2 Minutes 33 Secs.

408.

Pastorale in F major, BWV 590 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1710; Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 12 Minutes 25 Secs.

409.

Orgelbüchlein, BWV 599-644 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1714-1717; Weimar, Germany
Date of Recording: 05/1998
Venue: Benedictine Abbey, Ottobeuren, Germany
Length: 69 Minutes 34 Secs.

410.

Partite sopra Sei gegrüsset, Jesu gütig, BWV 768 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1700; Germany
Date of Recording: 05/1998
Venue: Benedictine Abbey, Ottobeuren, Germany
Length: 19 Minutes 0 Secs.

411.

Partite sopra "Ach, was soll ich Sünder machen?", BWV 770 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Date of Recording: 05/1998
Venue: Benedictine Abbey, Ottobeuren, Germany
Length: 9 Minutes 16 Secs.

412.

In dulci jubilo, BWV 729 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 05/1998
Venue: Benedictine Abbey, Ottobeuren, Germany
Length: 2 Minutes 11 Secs.

413.

Ich hab'mein'Sach'Gott heimgestellt, BWV 707 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Date of Recording: 05/1998
Venue: Benedictine Abbey, Ottobeuren, Germany
Length: 3 Minutes 56 Secs.

414.

Wachet auf, ruft uns die Stimme, BWV 140: no 7, Gloria sei dir gesungen by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 29 Secs.
Language: German

415.

Prelude and Fugue in B minor, BWV 544 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1727-1731; Leipzig, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 11 Minutes 14 Secs.

416.

Trio Sonata for Organ no 2 in C minor, BWV 526 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1727; Leipzig, Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 10 Minutes 47 Secs.

417.

Toccata and Fugue in F major, BWV 540 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 13 Minutes 8 Secs.

418.

Toccata and Fugue in D minor, BWV 565 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1708; Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 8 Minutes 14 Secs.

419.

Prelude and Fugue in D major, BWV 532 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; Germany
Date of Recording: 1995
Venue: St. Jacob's Church, Hamburg, Germany
Length: 11 Minutes 31 Secs.

420.

Prelude and Fugue in E flat major, BWV 552 "St Anne" by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1739; Leipzig, Germany
Date of Recording: 10/1996
Venue: Dom St. Marien, Frieburg, Germany
Length: 15 Minutes 54 Secs.

421.

Prelude and Fugue in C minor, BWV 546 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 12 Minutes 55 Secs.

422.

Prelude and Fugue in G major, BWV 550 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: by 1708
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 6 Minutes 14 Secs.

423.

Prelude and Fugue in C major, BWV 545 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 10 Minutes 54 Secs.

424.

Prelude and Fugue in D minor, BWV 539 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1720-1725
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 6 Minutes 29 Secs.

425.

Prelude and Fugue in F minor, BWV 534 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; ?Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 7 Minutes 58 Secs.

426.

Passacaglia in C minor, BWV 582 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: circa 1708-1712; Arnstadt, Germany
Date of Recording: 06/1994
Venue: Great Church, Maassluis, Netherlands
Length: 12 Minutes 27 Secs.

427.

Fantasie and Fugue in C minor, BWV 537 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708 - 1717; ?Weimar, Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 7 Minutes 54 Secs.

428.

Prelude and Fugue in G major, BWV 541 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: 1708-1717; Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 6 Minutes 46 Secs.

429.

Prelude and Fugue in C major, BWV 547 by Johann Sebastian Bach
Performer: Ton Koopman (Organ)
Period: Baroque
Written: after 1723; Germany
Date of Recording: 12/1996
Venue: Walloon Church, Amsterdam, Netherlands
Length: 8 Minutes 40 Secs.

430.

Wachet auf, ruft uns die Stimme, BWV 140: no 1, Wachet auf ruft uns die Stimme by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1731; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 1 Minutes 29 Secs.
Language: German

431.

Nun komm, der Heiden Heiland, BWV 62 by Johann Sebastian Bach
Performer: Ulrike Wild (Organ)
Conductor: Ton Koopman
Orchestra/Ensemble: Amsterdam Baroque Choir
Period: Baroque
Written: 1724; Leipzig, Germany
Date of Recording: 09/1994
Venue: Great Church, Leeuwarden, Netherlands
Length: 0 Minutes 31 Secs.
Language: German

432.

Two-Part Inventions (15), BWV 772-786 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: 1723; Cöthen, Germany
Length: 21 Minutes 52 Secs.

433.

Three-Part Inventions (15), BWV 787-801 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: 1723; Cöthen, Germany
Length: 33 Minutes 23 Secs.

434.

English Suite no 1 in A major, BWV 806 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 21 Minutes 54 Secs.

435.

French Suite no 1 in D minor, BWV 812 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 8 Minutes 3 Secs.

436.

English Suite no 2 in A minor, BWV 807 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 21 Minutes 40 Secs.

437.

French Suite no 2 in C minor, BWV 813 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 6 Minutes 44 Secs.

438.

English Suite no 3 in G minor, BWV 808 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 15 Minutes 38 Secs.

439.

French Suite no 3 in B minor, BWV 814 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 9 Minutes 48 Secs.

440.

English Suite no 4 in F major, BWV 809 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 21 Minutes 51 Secs.

441.

French Suite no 4 in E flat major, BWV 815 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 7 Minutes 29 Secs.

442.

English Suite no 5 in E minor, BWV 810 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 20 Minutes 39 Secs.

443.

French Suite no 5 in G major, BWV 816 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 11 Minutes 45 Secs.

444.

English Suite no 6 in D minor, BWV 811 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1715; Weimar, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 25 Minutes 59 Secs.

445.

French Suite no 6 in E major, BWV 817 by Johann Sebastian Bach
Performer: Alan Curtis (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 07/1979
Venue: Museum of Art and Commerce, Hamburg
Length: 10 Minutes 8 Secs.

446.

Suite in E flat major, BWV 819 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 13 Minutes 53 Secs.

447.

Suite in E flat major, BWV 819a by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: ?1730s; Cöthen, Germany
Length: 3 Minutes 25 Secs.

448.

Suite in B flat major, BWV 821 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: 1708-1714; Weimar, Germany
Length: 11 Minutes 32 Secs.

449.

Minuet in G major, BWV 841 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1720; Leipzig, Germany
Length: 1 Minutes 25 Secs.

450.

Minuet in G minor, BWV 842 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1720; Leipzig, Germany
Length: 0 Minutes 59 Secs.

451.

Minuet in G major, BWV 843 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1720; Leipzig, Germany
Length: 2 Minutes 4 Secs.

452.

Trio in B minor, BWV 814a by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1722-1725; Leipzig, Germany
Length: 1 Minutes 24 Secs.

453.

Scherzo in D minor, BWV 844 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: Leipzig, Germany
Length: 2 Minutes 20 Secs.

454.

Suite in A minor, BWV 818a by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1722; Cöthen, Germany
Length: 14 Minutes 34 Secs.

455.

Suite in A minor, BWV 818 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1722; Cöthen, Germany
Length: 5 Minutes 48 Secs.

456.

Partita for Keyboard no 5 in G major, BWV 829 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Leipzig, Germany
Date of Recording: 04/1998
Venue: Temple, Sommières, France
Length: 20 Minutes 36 Secs.

457.

Partita for Keyboard no 6 in E minor, BWV 830 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Leipzig, Germany
Date of Recording: 04/1988
Venue: Temple, Sommières, France
Length: 32 Minutes 26 Secs.

458.

Well-Tempered Clavier, Book 1, BWV 846-869 by Johann Sebastian Bach
Performer: Glen Wilson (Harpsichord)
Period: Baroque
Written: 1722; Cöthen, Germany
Date of Recording: 1989
Venue: Lutheran Church, Haarlem, Netherlands
Length: 117 Minutes 16 Secs.

459.

Well-Tempered Clavier, Book 2, BWV 870-893 by Johann Sebastian Bach
Performer: Glen Wilson (Harpsichord)
Period: Baroque
Written: 1738-1742; Leipzig, Germany
Date of Recording: 1989
Venue: Lutheran Church, Haarlem, Netherlands
Length: 148 Minutes 3 Secs.

460.

Partita for Keyboard no 1 in B flat major, BWV 825 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Leipzig, Germany
Date of Recording: 04/1988
Venue: Temple, Sommières, France
Length: 19 Minutes 10 Secs.

461.

Partita for Keyboard no 2 in C minor, BWV 826 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Germany
Date of Recording: 04/1998
Venue: Temple, Sommières, France
Length: 19 Minutes 41 Secs.

462.

Partita for Keyboard no 3 in A minor, BWV 827 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Leipzig, Germany
Date of Recording: 04/1998
Venue: Temple, Sommières, France
Length: 19 Minutes 24 Secs.

463.

Partita for Keyboard no 4 in D major, BWV 828 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1726-1731; Germany
Date of Recording: 04/1998
Venue: Temple, Sommières, France
Length: 33 Minutes 18 Secs.

464.

Prelude and Fugue in A minor, BWV 894 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 10 Minutes 53 Secs.

465.

Prelude and Fughetta in E minor, BWV 900 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1720; Cöthen, Germany
Length: 4 Minutes 9 Secs.

466.

Prelude and Fughetta in G major, BWV 902a: Prelude by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 4 Secs.

467.

Fantasia and Fugue in A minor, BWV 904 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1725; Leipzig, Germany
Length: 10 Minutes 21 Secs.

468.

Prelude in C major, BWV 924 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: after 1720; Cöthen, Germany
Length: 0 Minutes 54 Secs.

469.

Prelude in D major, BWV 925 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 0 Minutes 55 Secs.

470.

Prelude in D minor, BWV 926 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 9 Secs.

471.

Praeambulum in F major, BWV 927 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: after 1720; Cöthen, Germany
Length: 0 Minutes 43 Secs.

472.

Prelude in F major, BWV 928 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: after 1720; Cöthen, Germany
Length: 1 Minutes 19 Secs.

473.

Praeambulum in G minor, BWV 930 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: after 1720; Cöthen, Germany
Length: 1 Minutes 44 Secs.

474.

Prelude in A minor, BWV 931 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 1 Secs.

475.

Little Preludes (6): no 5 in E major, BWV 937 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 39 Secs.

476.

Prelude in C major, BWV 939 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 0 Minutes 32 Secs.

477.

Prelude in D minor, BWV 940 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 10 Secs.

478.

Applicatio in C major, BWV 994 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: Germany
Length: 0 Minutes 52 Secs.

479.

Little Preludes (6): no 1 in C major, BWV 933 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 38 Secs.

480.

Little Preludes (6): no 2 in C minor, BWV 934 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 49 Secs.

481.

Little Preludes (6): no 3 in D minor, BWV 935 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 43 Secs.

482.

Little Preludes (6): no 4 in D major, BWV 936 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: Germany
Length: 3 Minutes 14 Secs.

483.

Little Preludes (6): no 6 in E minor, BWV 938 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 1 Minutes 51 Secs.

484.

Prelude in E minor, BWV 941 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 0 Minutes 34 Secs.

485.

Prelude in C major, BWV 943 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 2 Minutes 6 Secs.

486.

Fugue in A minor, BWV 944 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: ?Weimar, Germany
Length: 8 Minutes 11 Secs.

487.

Fugue in B flat major, BWV 955 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Length: 5 Minutes 16 Secs.

488.

Fugue in A minor, BWV 958 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1710; Weimar, Germany
Length: 3 Minutes 9 Secs.

489.

Fugue in A minor, BWV 959 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1710; Weimar, Germany
Length: 3 Minutes 15 Secs.

490.

Sonata in D major, BWV 963 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1704
Length: 10 Minutes 17 Secs.

491.

Capriccio in E major, BWV 993 by Johann Sebastian Bach
Performer: Zuzana Ruzicková (Harpsichord)
Period: Baroque
Written: circa 1704
Length: 5 Minutes 59 Secs.

492.

Toccata in D major, BWV 912 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: circa 1710; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 10 Minutes 35 Secs.

493.

Toccata in E minor, BWV 914 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: by 1708; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 5 Minutes 53 Secs.

494.

Toccata in F sharp minor, BWV 910 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: circa 1710 ; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 8 Minutes 27 Secs.

495.

Toccata in G major, BWV 916 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: by 1710; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 7 Minutes 49 Secs.

496.

Toccata in C minor, BWV 911 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: circa 1717; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 9 Minutes 53 Secs.

497.

Toccata in D minor, BWV 913 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: by 1708; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 12 Minutes 27 Secs.

498.

Toccata in G minor, BWV 915 by Johann Sebastian Bach
Performer: Bob van Asperen (Harpsichord)
Period: Baroque
Written: by 1708; Weimar, Germany
Date of Recording: 1999
Venue: Charlottenburg Castle, Berlin, Germany
Length: 8 Minutes 25 Secs.

499.

Chromatic Fantasia and Fugue in D minor, BWV 903 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Period: Baroque
Written: circa 1720; Cöthen, Germany
Date of Recording: 11/1970
Venue: Bennebroek, Holland
Length: 11 Minutes 19 Secs.

500.

Prelude and Fughetta in A minor, BWV 895 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Period: Baroque
Written: by 1725
Length: 2 Minutes 44 Secs.

501.

Fugue in C major, BWV 952 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Organ)
Period: Baroque
Date of Recording: 02/1964
Venue: Bennebroek, Holland
Length: 2 Minutes 7 Secs.

502.

Suite in F minor, BWV 823 [fragment] by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Period: Baroque
Written: 1708-1714; Weimar, Germany
Length: 6 Minutes 33 Secs.

503.

Capriccio in B flat major on the Departure of his Most Beloved Brother, BWV 992 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Period: Baroque
Written: circa 1704; Arnstadt, Germany
Date of Recording: 02/1970
Venue: Bennebroek, Holland
Length: 12 Minutes 54 Secs.

504.

Aria Variata in a, BWV 989 "In the Italian Style" by Johann Sebastian Bach
Performer: Glen Wilson (Harpsichord)
Period: Baroque
Written: by 1714; Weimar, Germany
Length: 15 Minutes 36 Secs.

505.

Canons (14) on the Ground from the "Goldberg Variations", BWV 1087 by Johann Sebastian Bach
Performer: Glen Wilson (Harpsichord)
Period: Baroque
Written: ?1731; Leipzig, Germany
Length: 9 Minutes 22 Secs.

506.

Italian Concerto, BWV 971 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1735; Leipzig, Germany
Date of Recording: 06/1988
Venue: Assas Castle, Hérault, France
Length: 12 Minutes 25 Secs.

507.

Overture in the French style in B minor, BWV 831 by Johann Sebastian Bach
Performer: Scott Ross (Harpsichord)
Period: Baroque
Written: 1735; Leipzig, Germany
Date of Recording: 06/1988
Venue: Assas Castle, Hérault, France
Length: 27 Minutes 26 Secs.

508.

Goldberg Variations, BWV 988 by Johann Sebastian Bach
Performer: Gustav Leonhardt (Harpsichord)
Period: Baroque
Written: 1741-1742; Nuremberg, Germany
Length: 47 Minutes 41 Secs.

509.

Sonata in D minor, BWV 964 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Date of Recording: 1997
Venue: German Radio Studios, Cologne, Germany
Length: 18 Minutes 14 Secs.

510.

Sonata in A minor, BWV 965 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Date of Recording: 1997
Venue: German Radio Studios, Cologne, Germany
Length: 17 Minutes 33 Secs.

511.

Sonata in C major, BWV 966 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Date of Recording: 1997
Venue: German Radio Studios, Cologne, Germany
Length: 17 Minutes 2 Secs.

512.

Adagio in G major, BWV 968 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Date of Recording: 1997
Venue: German Radio Studios, Cologne, Germany
Length: 19 Minutes 25 Secs.

513.

Fugue in B flat major, BWV 954 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Date of Recording: 1997
Venue: German Radio Studios, Cologne, Germany
Length: 3 Minutes 41 Secs.

514.

Prelude and Partita for Keyboard in F major, BWV 833 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1714; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 9 Minutes 14 Secs.

515.

Prelude and Fugue in A major, BWV 896 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: by 1710
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 2 Minutes 41 Secs.

516.

Prelude and Fughetta in D minor, BWV 899 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 2 Minutes 30 Secs.

517.

Fantasie in G minor, BWV 917 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 1 Minutes 51 Secs.

518.

Prelude in G minor, BWV 929 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 0 Minutes 44 Secs.

519.

Prelude and Fughetta in G major, BWV 902 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 6 Minutes 49 Secs.

520.

Fantasia and Fugue in C minor, BWV 906 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1738; Leipzig, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 8 Minutes 30 Secs.

521.

Prelude and Fughetta in F major, BWV 901 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 2 Minutes 9 Secs.

522.

Prelude in C minor, BWV 921 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 2 Minutes 26 Secs.

523.

Prelude in A minor, BWV 922 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 5 Minutes 56 Secs.

524.

Well-Tempered Clavier, Book 1: Prelude and Fugue no 1 in C, BWV 846 - Prelude by Johann Sebastian Bach
Performer: Olivier Baumont (Clavichord)
Period: Baroque
Written: 1722; Cöthen, Germany
Length: 0 Minutes 43 Secs.

525.

Well-Tempered Clavier, Book 1: Prelude and Fugue no 2 in C minor, BWV 847 - Prelude by Johann Sebastian Bach
Performer: Olivier Baumont (Clavichord)
Period: Baroque
Written: 1722; Cöthen, Germany
Length: 1 Minutes 2 Secs.

526.

Well-Tempered Clavier, Book 1: Prelude and Fugue no 6 in D minor, BWV 851 - Prelude by Johann Sebastian Bach
Performer: Olivier Baumont (Clavichord)
Period: Baroque
Written: 1722; Cöthen, Germany
Length: 0 Minutes 55 Secs.

527.

Well-Tempered Clavier, Book 1: Prelude and Fugue no 10 in E minor, BWV 855 - Prelude by Johann Sebastian Bach
Performer: Olivier Baumont (Clavichord)
Period: Baroque
Written: 1722; Cöthen, Germany
Length: 1 Minutes 20 Secs.

528.

Fantasia on a Rondo in C minor, BWV 918 by Johann Sebastian Bach
Performer: Andreas Staier (Harpsichord)
Period: Baroque
Written: by 1710; ?Weimar, Germany
Length: 4 Minutes 20 Secs.

529.

Suite in G minor, BWV 822 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 13 Minutes 9 Secs.

530.

Fugue in A minor, BWV 947 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 3 Minutes 26 Secs.

531.

Fugue in A major, BWV 949 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 3 Minutes 55 Secs.

532.

Fugue on a theme by Albinoni in B minor, BWV 951 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1710; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 5 Minutes 32 Secs.

533.

Fugue in C major, BWV 946 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1708; ?Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 2 Minutes 13 Secs.

534.

Fugue in D minor, BWV 948 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 3 Minutes 54 Secs.

535.

Fugue on a theme by Albinoni in A major, BWV 950 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1710; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 4 Minutes 16 Secs.

536.

Fugue in C major, BWV 953 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1723
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 1 Minutes 26 Secs.

537.

Minuet in C minor, BWV 813a by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1724; Leipzig, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 0 Minutes 56 Secs.

538.

Allemande for Keyboard in G minor, BWV 836 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: circa 1720-1722; Leipzig, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 1 Minutes 41 Secs.

539.

Fughetta in C minor, BWV 961 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 1 Minutes 33 Secs.

540.

Concerto in D major after Vivaldi, BWV 972 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 7 Minutes 44 Secs.

541.

Concerto in G major after Vivaldi, BWV 973 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 6 Minutes 41 Secs.

542.

Concerto in G minor after Vivaldi, BWV 975 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 7 Minutes 28 Secs.

543.

Concerto in C major after Vivaldi, BWV 976 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 9 Minutes 27 Secs.

544.

Concerto in F major after Vivaldi, BWV 978 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 7 Minutes 10 Secs.

545.

Concerto in G major after Vivaldi, BWV 980 by Johann Sebastian Bach
Performer: Olivier Baumont (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Length: 9 Minutes 23 Secs.

546.

Concerto in D minor after Alessandro Marcello, BWV 974 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 10 Minutes 9 Secs.

547.

Concerto in C major after an unknown composer, BWV 977 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 5 Minutes 59 Secs.

548.

Concerto in B minor after an unknown composer, BWV 979 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 10 Minutes 21 Secs.

549.

Concerto in C minor after Benedetto Marcello, BWV 981 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 10 Minutes 44 Secs.

550.

Concerto in B flat major after Duke Johann Ernst of Saxe-Weimar, BWV 982 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 7 Minutes 15 Secs.

551.

Concerto in G minor after an unknown composer, BWV 983 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 7 Minutes 42 Secs.

552.

Concerto in C major after Duke Johann Ernst of Saxe-Weimar, BWV 984 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio, Manno, Italy
Length: 7 Minutes 21 Secs.

553.

Concerto in G minor after Telemann, BWV 985 by Johann Sebastian Bach
Performer: Michele Barchi (Harpsichord)
Period: Baroque
Written: 1708-1717; Weimar, Germany
Date of Recording: 1998-99
Venue: San Rocco Oratorio,

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