On The Bach Hour, John Eliot Gardiner leads the Monteverdi Soloists and English Baroque Soloists in the composer's reflection on the Archangel's confrontation with the Dragon.

On The Bach Hour, an artist of uncommon insight interprets - and talks about - one of Bach's most imposing compositions, and Martin Pearlman leads Boston Baroque in Magnificat.

On The Bach Hour, Shaham's decades of experience - both musical and otherwise - inform a rich interpretation of Bach's solo violin works, illuminated through both performance and conversation.

On The Bach Hour, the solidity and expression of one hymn tune is the foundation of works for solo violin and pipe organ, as well as the Cantata No. 172, performed by Amsterdam Baroque and director Ton Koopman.

On The Bach Hour, the composer's "Weinen, Klagen, Sorgen, Zagen" charts a course from dark sorrow to resolute peace in a performance by Collegium Vocale of Ghent and their director, Philippe Herreweghe.

On The Bach Hour, violinist Lara St. John and harpist Marie-Pierre Langlamet bring uncommon warmth, color, and resonance to the composer's Violin Sonata No. 1.

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."

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.