On The Bach Hour, pianist Simone Dinnerstein describes her childhood entry into the composer's music through his Two-Part Inventions, and why they remain continually fascinating.

On The Bach Hour, the Academy for Ancient Music Berlin brings vibrant textures and colors to the composer's ultimate musical statement in counterpoint, and John Eliot Gardiner conducts the Cantata No. 181, confronting "light-minded, frivolous spirits."

On The Bach Hour, violist Maxim Rysanov's interpretation of the composer's Cello Suite No. 1 is a merging of two musical approaches that mirror his own path through life.

On The Bach Hour, Icelandic pianist Víkingur Ólafsson brings a spirit of collaborative creation to the composer's Aria and Variations in the Italian Manner, and Christoph Spering leads the Cantata No. 14.

In his Cantata No. 156, the composer infuses a particular sequence with the meaning of words of devotion to create a sonic symbol, part of a performance directed by Masaaki Suzuki on The Bach Hour.

On The Bach Hour, Murray Perahia is the soloist in the composer's Concerto in D, and Ton Koopman leads a cantata inspired by the transformation of water into wine.

On The Bach Hour, in the final chapter of the composer's narrative for the season, a clever deception heads off a potential disaster, laying the groundwork for a promising future.

On The Bach Hour, the fifth of the composer's six-part narrative for the season reveals a fearsome terror and the calm radiance that counters that threat.

On The Bach Hour, the simple act of naming unlocks a transformation in the fourth of the composer's six-part narrative for the season.

On the Bach Hour, the unprecedented, world-changing events of the Christmas story are filtered through one central character in the third of the composer's six-part narrative for the season.