Tracklist

CD 1
# Title Rating Length
1 Suite pour orchestre n°3 en ré majeur, BWV 1068: Ouverture
7:51
2 Suite pour orchestre n°3 en ré majeur, BWV 1068: Air
4:56
3 “Wachet auf, ruft uns die Stimme”, BWV 645
4:25
4 Concerto pour 2 violins & cordes en ré mineur, BWV 1043: I. Vivace
4:16
5 Concerto pour 2 violins & cordes en ré mineur, BWV 1043: II. Largo, ma non tanto
7:43
6 Concerto pour 2 violins & cordes en ré mineur, BWV 1043: III. Allegro
5:27
7 Cantate “Jauchzet Gott in allen Landen”, BWV 51: Aria
3:47
8 Sonate poiur flûte & clavecin en mi bémol majeur, BWV 1031: Il Siciliano
2:21
9 Suite pour violoncelle seul n°1 en sol majeur, BWV 1007: Prélude
2:32
10 Concerto pour piano & orchestre en fa mineur, BWV 1055: II. Largo
3:22
11 Cantate “Jesu, der du meine Seele”, BWV 78: Duetto “Wir eilen mit Schwachen”
5:15
12 Suite n°2 pour flûte & cordes en si mineur, BWV 1067: VI. Menuet
1:12
13 Suite n°2 pour flûte & cordes en si mineur, BWV 1067: VII. Badinerie
1:27
14 Cantate “Herz und Mund und Tat und Leben”, BWV 147: Choral “Jesus bleibet meine Freude” (Jesus, que ma joie demeure)
3:31
15 Suite pour luth en mi mineur, BWV 996: V. Bourée
1:25
16 Toccata & fugue en ré mineur, BWV 565
8:20
17 Variations Goldberg, BWV 988: Aria
3:05
18 Passion selon Saint-Jean, BWV 245: Chœur final “Ruht wohl, ihr heiligen Gebeine”
7:53
CD 2
# Title Rating Length
1 Oratorio de Noël, BWV 248: Chœur “Jauchzet, frohlocket, auf, preiset die Tage”
8:16
2 Concerto brandebourgeois n°5 en ré majeur, BWV 1050: II. Affectuoso
5:42
3 Cantate de la chasse “Was mir behagt, ist nur die muntre Jagd”, BWV 208: Aria “Schafe können sicher weiden”
4:18
4 Concerto pour violin & hautbois en ré mineur, BWV 1060: II. Adagio
5:55
5 Parita n°1 en si bémol majeur, BWV 825: I. Prélude
1:48
6 Parita n°1 en si bémol majeur, BWV 825: VI. Gigue
1:46
7 Concerto brandebourgeois n°2 en fa majeur, BWV 1047: I. Allegro
5:40
8 Concerto brandebourgeois n°2 en fa majeur, BWV 1047: II. Andante
4:17
9 Concerto brandebourgeois n°2 en fa majeur, BWV 1047: III. Allegro assai
2:48
10 Passion seion Saint-Jean, BWV 245: Aria “Es ist vollbracht”
5:09
11 Parita pour violin seul n°3 en mi majeur, BWV 1006: I. Preludio
3:12
12 Concerto pour 4 clavecins & cordes en la mineur, d’aprés Vivaldi, BWV 1065: I. Allegro
4:16
13 Concerto pour 4 clavecins & cordes en la mineur, d’aprés Vivaldi, BWV 1065: II. Largo
3:43
14 Concerto pour 4 clavecins & cordes en la mineur, d’aprés Vivaldi, BWV 1065: III. Allegro
3:36
15 Magnificat en ré majeur, BWV 243: Quia fecit mihi magna
2:11
16 Magnificat en ré majeur, BWV 243: Deposult potentes
1:57
17 Choral “Nun komm’ der Heiden Helland” (Viens, sauveur des paiens), BWV 599
5:14
18 Prélude pour luth en ut mineur, BWV 999
1:39
19 Aria “Bist du bei mir”, BWV 508
2:08
20 Passion seion Saint-Matthieu, BWV 244: Choral “O Mensch, bewein’ dein’ Sünde groß”
7:11

Credits

CD 1

premiered in:
Leipzig, Sachsen, Germany (1723-07-02) (track 14)
violin:
Christian Ferras (track 6)
Yehudi Menuhin (track 6)
Christian Ferras (1958-10 – 1959-07) (tracks 4–5)
Yehudi Menuhin (1958-10 – 1959-07) (tracks 4–5)
Iona Brown (violinist and director of the Academy of St Martin in the Fields) (1985) (tracks 1–2)
cello:
Paul Tortelier (1960-12-05 – 1960-12-08) (track 9)
Denis Vigay (1985) (tracks 1–2)
oboe:
Barry Davis (classical oboist) (1985) (tracks 1–2)
Celia Nicklin (1985) (tracks 1–2)
trumpet:
Maurice André (track 7)
Simon Ferguson (1985) (tracks 1–2)
William Houghton (1985) (tracks 1–2)
Michael Laird (1985) (tracks 1–2)
lute:
Louis Pernot (track 15)
pipe organ:
Jean-Louis Gil (track 16)
flute:
William Bennett (flautist) (tracks 12–13)
Michel Debost (track 8)
organ:
Lionel Rogg (track 3)
piano:
Gabriel Tacchino (track 10)
Maria Tipo (track 17)
harpsichord:
Lionel Rogg (track 8)
harpsichord [harpsichord continuo]:
Alastair Ross (harpsichord / organist) (1985) (tracks 1–2)
balance engineer:
Walther Ruhlmann (1960-12-05 – 1960-12-08) (track 9)
choir vocals:
composer:
Johann Sebastian Bach (tracks 1, 3, 8–10, 12–13, 15–18)
Johann Sebastian Bach (1723) (track 14)
Johann Sebastian Bach (1724) (track 11)
Johann Sebastian Bach (1730) (tracks 2, 7)
Johann Sebastian Bach (1730 – 1731) (tracks 4–6)
conductor:
Wolfgang Gönnenwein (conductor) (track 11)
Sir Neville Marriner (tracks 7, 12–13)
Yehudi Menuhin (track 6)
Sir David Willcocks (track 14)
Yehudi Menuhin (1958-10 – 1959-07) (tracks 4–5)
Sir Neville Marriner (1985) (tracks 1–2)
contralto vocals:
Sybil Michelow (track 11)
lyricist:
Johann von Rist (track 11)
orchestra:
Consortium Musicum (track 11)
Bath Festival Orchestra (1958-10 – 1959-07) (tracks 4–5)
Academy of St Martin in the Fields (1985) (tracks 1–2)
producer:
René Challan (track 9)
soprano vocals:
Helen Donath (track 7)
Edith Mathis (track 11)
recorded at:
Salle Wagram in Paris, Île-de-France, France (1960-12-05 – 1960-12-08) (track 9)
part of:
Bach-Werke-Verzeichnis (number: BWV 565) (track 16)
Bach-Werke-Verzeichnis (number: BWV 645) (track 3)
arrangements:
"Jesus bleibet meine Freude" from Cantata, BWV 147 (for piano, Chuquisengo) (track 14)
Air on a G String (Guitar + modern ensemble arr. Myers) (track 2)
Air on the G String (for violin & piano, arr. Wilhelmj) (track 2)
Air on the G String (for cello and orchestra, arr. Cullen) (track 2)
BWV 1043: II. Largo ma non tanto (catch all for arrangements) (track 5)
Flute Sonata in E-flat major, BWV 1031: II. Siciliano (for 2 pianos 8 hands, Wilberg) (track 8)
Flute Sonata in E-flat major, BWV 1031: II. Siciliano (catch-all for arrangements) (track 8)
Flute Sonata in E-flat major, BWV 1031: II. Siciliano (for piano, unspecified arranger) (track 8)
Goldberg-Variationen, BWV 988: Aria (catch-all for arrangements) (track 17)
Jesu, Joy of Man's Desire, from BWV 147 (for piano, Myra Hess) (track 14)
Jesu, Joy of Man's Desiring (for band, Reed) (track 14)
Jesu, Joy of Men's Desiring (Sportiello arrangement) (track 14)
Jesu, bleibet meine Freunde (Jesu, Joy of Man’s Desiring) (arr. for piano by Richard Tilling) (track 14)
Jesus bleibet meine Freude (for organ, Duruflé) (track 14)
Jesus bleibet meine Freude (for trumpet and organ, Alain) (track 14)
Kantate, BWV 147 "Herz und Mund und Tat und Leben": Teil II, X. Choral "Jesus bleibet meine Freude" (Jesu, Joy of Mans Desiring; catch-all for arrangements) (track 14)
Morning Song, BWV 645 (for piano, Friedman) (track 3)
Orchestersuite Nr. 2 h-Moll, BWV 1067: VI. Menuet (for piano 4 hands, Reger) (track 12)
Orchestersuite Nr. 2 h-Moll, BWV 1067: VI. Menuet (catch all for arrangements) (track 12)
Orchestersuite Nr. 2 h-Moll, BWV 1067: VII. Badinerie (catch-all for arrangements) (track 13)
Orchestersuite Nr. 2 h-Moll, BWV 1067: VII. Badinerie (for piano 4 hands, Reger) (track 13)
Orchestersuite Nr. 3 D-Dur, BWV 1068: I. Ouverture (for piano 4 hands, Reger) (track 1)
Orchestersuite Nr. 3 D-Dur, BWV 1068: I. Ouverture (catch all for arrangements) (track 1)
Orchestersuite Nr. 3 D-Dur, BWV 1068: II. Air (catch-all for unknown versions/arrangements) (track 2)
Orchestersuite Nr. 3 D-Dur, BWV 1068: II. Air (for piano, Siloti) (track 2)
Orchestersuite Nr. 3 D-Dur, BWV 1068: II. Air (for piano 4 hands, Reger) (track 2)
Orchestersuite Nr. 3 D-Dur, BWV 1068: II. Air (for violin and piano, arr. Windsperger) (track 2)
Orchestersuite no. 3 D-dur, BWV 1068: II. Air (arr. Nigel Kennedy, John Lenehan) (track 2)
Solo Amore (track 2)
Suite in E minor, BWV 996: V. Bourrée (catch all for arrangements) (track 15)
Suite no. 1 G-Dur, BWV 1007: I. Prélude (catch-all for arrangements) (track 9)
Suite no. 1 in G major, BWV 1007: I. Prélude (for viola, arr. Rowland-Jones) (track 9)
Three Chorales: Jesu, Joy of Man‘s Desiring (Milko Kelemen arrangement) (track 14)
Toccata and Fugue in D minor (arr. Mike Batt) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for piano, Friedman) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for piano 4 hands, Reger) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for piano, Grainger) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for piano solo, Reger) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for piano, Tausig) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for solo piano, Cortot) (track 16)
Toccata und Fuge d-Moll, BWV 565 (for band, Leidzén) (track 16)
Toccata und Fuge d-Moll, BWV 565 (catch-all for arrangements) (track 16)
Toccata und Fugue d-Moll, BWV 565, BV B 29 no. 2 (Busoni piano arrangement) (track 16)
Wachet auf, ruft uns die Stimme, BWV 645 (for piano, Bantock) (track 3)
is based on:
is the basis for:
Anthem (track 9)
Bach Aire (track 2)
Bourée (Jethro Tull version) (track 15)
Ecos (track 14)
Edge of the Moon (track 8)
Lady Lynda (track 14)
Peace Planet (track 13)
The Cello Song (track 9)
The Real Thing (track 16)
Toccata (track 16)
Vivace (track 4)
later translated versions:
orchestrations:
Aria from Overture no. 3, BWV 1068 ("Air on the G-string", Stokowski orchestration) (track 2)
Jesu, Joy of Man’s Desiring, BWV 147/10 (Stokowski orchestration) (track 14)
Toccata and Fugue in D minor, BWV 565 (Stokowski orchestration) (track 16)
Toccata and Fugue in D minor, BWV 565 (arr. S. Skrowaczewski) (track 16)
Toccata und Fuge d-Moll, BWV 565 (orchestrated by H. Wood) (track 16)
Wachet auf, ruft uns die Stimme, BWV 645 (Stokowski orchestration) (track 3)
Wachet auf, ruft uns die Stimme, BWV 645 (Bantock orchestration) (track 3)
part of:
Sechs Choräle von verschiedener Art (part of collection) (track 3)
Suite in E minor, BWV 996 (original for lute, lute harpsichord) (track 15)
parts:
recording of:
referred to in medleys:
Hooked on Bach (track 13)
Hooked on Romance (track 2)

CD 2

composed in:
Weimar, Thüringen, Germany (track 3)
Leipzig, Sachsen, Germany (1728 – 1731) (tracks 15–16)
Leipzig, Sachsen, Germany (1734 – 1735) (track 1)
premiered in:
Weißenfels, Sachsen-Anhalt, Germany (1713-02) (track 3)
Leipzig, Sachsen, Germany (1733-07-02) (tracks 15–16)
Leipzig, Sachsen, Germany (1734-12-25) (track 1)
recorded in:
Paris, Île-de-France, France (track 17)
violin:
Iona Brown (violinist and director of the Academy of St Martin in the Fields) (track 2)
Yehudi Menuhin (track 4)
Nathan Milstein (1955-12-28) (track 11)
oboe:
Léon Goossens (track 4)
trumpet:
Maurice André (tracks 7–9)
lute:
Louis Pernot (track 18)
recorder:
Eckart Haupt (track 3)
Gudrun Jahn (track 3)
flute:
William Bennett (flautist) (track 2)
organ:
Jean-Louis Gil (track 17)
piano:
Alexis Weissenberg (tracks 5–6)
viola da gamba:
Alfred Lessing (track 19)
harpsichord:
Riccardo Castagnone (tracks 12–14)
Hedda Illy (tracks 12–14)
George Malcolm (English harpsichordist, conductor) (track 2)
Anna Maria Pernafelli (tracks 12–14)
Walter Thoene (track 19)
Ferruccio Vignanelli (tracks 12–14)
bass vocals:
Jorma Hynninen (track 15)
choir vocals:
composer:
Johann Sebastian Bach (tracks 1–2, 4–10, 12–18, 20)
Johann Sebastian Bach (1713) (track 3)
Johann Sebastian Bach (1720) (track 11)
conductor:
Renato Fasano (tracks 12–14)
Wolfgang Gönnenwein (conductor) (tracks 10, 20)
Sir Philip Ledger (track 1)
Sir Neville Marriner (tracks 2, 15–16)
Yehudi Menuhin (track 4)
Riccardo Muti (track 9)
Peter Schreier (1989-07) (track 3)
contralto vocals:
Brigitte Fassbaender (mezzo-soprano) (track 10)
librettist:
Salomon Franck (track 3)
Picander (track 20)
orchestra:
Academy of St Martin in the Fields (tracks 1–2, 15–16)
Consortium Musicum (track 10)
I Virtuosi di Roma (tracks 12–14)
Philharmonia Orchestra (London orchestra aka New Philharmonia Orchestra from 1964-1976) (track 9)
previously attributed to:
solo trumpet:
Maurice André (track 9)
soprano vocals:
Edith Mathis (track 19)
Barbara Hendricks (1989-07) (track 3)
tenor vocals:
Uwe Heilmann (track 16)
recorded at:
Jesus‐Christus‐Kirche (Dahlem, Berlin) in Berlin, Germany (1989-07) (track 3)
part of:
Bach Compendium (number: K82) (track 17)
Bach-Werke-Verzeichnis (number: BWV 508) (track 19)
Bach-Werke-Verzeichnis (number: BWV 659) (track 17)
Bach-Werke-Verzeichnis (number: BWV 999) (track 18)
arrangement of:
arrangements:
Arie, BWV 508 „Bist Du bei mir“ (arranged for trumpet) (track 19)
Art Thou With Me (translated) (track 19)
Bist du bei mir, BWV 508 (misattributed to Bach, catch-all for arrangements) (track 19)
Brandenburgisches Konzert Nr. 2 F-Dur, BWV 1047: I. (Allegro) (catch-all for arrangements) (track 7)
Brandenburgisches Konzert Nr. 2 F-Dur, BWV 1047: II. Andante (catch-all for arrangements) (track 8)
Concerto for Violin & Oboe in D minor, BWV 1060R: II. Adagio (catch all for arrangements) (track 4)
Concerto in A minor, BWV 1065: I. [Allegro] (catch all for arrangements) (track 12)
Nun komm' der Heiden Heiland, BWV 659 (for piano, Kempff) (track 17)
Nun komm' der Heiden Heiland, BWV 659, KiV B27/3 (for piano, Busoni) (track 17)
Nun komm’ der Heiden Heiland, BWV 659 (for piano, Feinberg) (track 17)
Nun komm’ der Heiden Heiland, BWV 659 (catch-all for arrangements) (track 17)
Nun komm’ der Heiden Heiland, BWV 659 (for piano, Friedman) (track 17)
Partita no. 1 in B-flat major, BWV 825: I. Prelude (catch all for arrangements) (track 5)
Partita no. 1 in B-flat major, BWV 825: VII. Gigue (catch all for arrangements) (track 6)
Prelude in C minor, BWV 999 (catch all for arrangements) (track 18)
Sheep May Safely Graze (arr. for piano, Egon Petri) (track 3)
Sheep May Safely Graze from Cantata, BWV 208 (for organ, Taylor) (track 3)
Sheep May Safely Graze from Cantata, BWV 208 (for piano, Friedman) (track 3)
Violin Partita no. 3 in E major, BWV 1006: I. Preludio (catch-all for arrangements) (track 11)
is based on:
is the basis for:
Blithe Bells (for orchestra) (track 3)
Blithe Bells (for piano) (track 3)
Jardim do amor (track 18)
later versions:
St. John Passion, BWV 245: Es ist vollbracht! (Stokowski orchestration) (track 10)
orchestrations:
Bist du bei mir, BWV 508 (orchestrated by Klemperer) (track 19)
Nun komm' der Heiden Heiland, BWV 659 (Stokowski orchestration) (track 17)
Sheep May Safely Graze (from Cantata 208) (Stokowski orchestration) (track 3)
Violin Partita no. 3 in E major, BWV 1006: I. Preludio (orchestrated by Pick-Mangiagalli) (track 11)
Violin Partita no. 3 in E major, BWV 1006: I. Preludio (Stokowski orchestration) (track 11)
part of:
Concerto for Violin & Oboe in C minor, BWV 1060R (reconstructed arrangement of the concerto for harpsichord and strings) (track 4)
Partita no. 1 in B-flat major, BWV 825 (movement) (tracks 5–6)
Magnificat D-Dur, BWV 243 (tracks 15–16)
recording of:
Bist du bei mir, BWV 508 (misattributed to Bach) (track 19)
Concerto for Violin & Oboe in C minor, BWV 1060R: II. Adagio (reconstructed arrangement for violin & oboe of BWV 1060) (track 4)
Prelude in C minor, BWV 999 (original for lute) (track 18)
referred to in medleys:
Hooked on Bach (track 7)
revision of:
version of: