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courtesy of St. Peter's Church, Freiberg/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. -
courtesy of the artist/On The Bach Hour, the composer's Cantata No. 86, led by Ton Koopman, reflects a devotion to the sacred, while an enthusiasm for weekend social gatherings comes to life in the Orchestral Suite No. 1, directed by Richard Egarr.
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On The Bach Hour, David Fray is the pianist in music that grew not only from the composer's invention and craft, but also from his close relationship with his wife. -
On The Bach Hour, Ton Koopman leads Amsterdam Baroque in music that reflects the complexity of belief through one of the composer's most brilliant works, and the Boston Early Music Festival Orchestra performs Bach's Orchestral Suite No. 4.
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The Academy for Ancient Music Berlin illuminates a magical fusion of two iconic composers, and John Eliot Gardiner conducts the "Actus Tragicus" on The Bach Hour.
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On The Bach Hour, the Artistic Director of the Handel and Haydn Society offers his insights into the emotionally devastating final part of one of the composer's most powerful masterpieces.
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On The Bach Hour, the Artistic Director of the Handel and Haydn Society offers his own insights and interpretations of one of the composer's most powerful masterpieces.
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On The Bach Hour, violinist Lara St. John and harpist Marie-Pierre Langlamet bring an uncommon warmth, color, and resonance to the composer's Violin Sonata No. 1, a piece originally scored with harpsichord, and John Eliot Gardiner leads the Cantata No. 150.
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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.
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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."
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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, and Masaaki Suzuki conducts the Cantata No. 92.
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The German countertenor sings the Cantata No. 82, "Ich habe genug," and talks with host Brian McCreath about its meaning and the wider role of art in our lives, on The Bach Hour.
