On The Bach Hour, the composer's Cantata No. 19, for St. Michael and All Angels, expresses a terrifying, visceral quality of battle, and a hope for protection and safety.

On The Bach Hour, a prosaic name obscures the brilliance and emotional impact of the composer’s music, performed by one of today’s most thoughtful and dynamic pianists.

On The Bach Hour, the English pastoral tradition of Vaughan Williams, Walton, Bax, and others meets Bach's music through the interpretations of pianist Jonathan Plowright, and Ton Koopman leads the Cantata 116.

On The Bach Hour, destruction on a Biblical scale is the foundation of music that grapples with mysteries and uncertainties as relevant today as in the composer's time.

On The Bach Hour, Ton Koopman leads Amsterdam Baroque in a work that broke new ground for the composer, expressing a path from “anxious conscience” to an embrace of self-assurance.

In a performance at the Gewandhaus in Leipzig, Germany, Iranian-born pianist Ramin Bahrami is the soloist in Bach's emotionally probing D minor concerto.

On The Bach Hour, a masterpiece, ignored when it was new, reveals a revolutionary spirit in a vivid performance by harpsichordist John Butt and the Dunedin Consort in Scotland.

On The Bach Hour, organist Olivier Latry harnesses the astonishing sonic resources of a remarkable instrument for the composer's music, and John Eliot Gardiner leads the Cantata No. 185.

On The Bach Hour, Richard Egarr leads the Academy of Ancient Music in a vibrant account of one of Bach's most iconic works, and Boston's Emmanuel Music traverses the earthly and the divine in the composer's Cantata No. 2.

On The Bach Hour, the power of water and its spiritual dimensions are at the heart of Bach's Cantata No. 7, led by John Eliot Gardiner, and harpist Catrin Finch performs the composer's Italian Concerto.