John listens to recordings of Bach's sixth English Suite for 2 hands

BWV 1020 may not be by Bach; but it's a strong sonata that has been played by different instruments, most notably flute or violin

We listen to several versions of the Sinfonia, and two recordings of the cantata.

My first discovery of the world of baroque music is tied to this very concerto. I survey a number of excellent recordings. Andreas Staier with FBO Francesco Cera with I Barocchisi Pierre Hantaï with Le Concert Français Sergio Ciomei with Europa Galante The harpsichord concertos by Bach are believed by some to all be arrangements of concertos Bach originally wrote for different instruments. In the case of BWV 1054, we have the surviving version for violin, the Concerto in E, BWV 1042. The harpsichord version differs, with Bach adding more idiomatic material for the harpsichord in several sections. Formally, the first and second movement contain more musical material and a short finale closes the concerto in the similar affable, cheery style that opened the concerto with a major triad.

John explores favorite renditions from the first suite for solo cello, including from Yo-Yo Ma's new recording on Sony Classical

BWV 538 is one of the "big" toccata and fugue pairs by J.S. Bach

Bach's third partita contains some amazing music which despite being grounded in dance forms, elicit today a variety of interpretations.

This is a ripe example of Bach's ability to craft something quite interesting from a small germ of an idea. We listen to performances on keyboard and on strings.

Different performances highlight some of the nuances left behind in Bach's writing; choices in tempo, phrasing, strong/weak notes, and more.

In the end, despite the revision by Bach, John prefers the earlier version for two violins

In this episode, I explore the desire to realize this piece using an instrument that both has good attack but also sustaining power. It feels like an excellent candidate for the piano. Features a performance by Andreas Staier.

In this episode we find thematic links between movements in Bach's final suites for keyboard in his opus 1.

John examines elements of interpretation across different recordings.

Comparing performances between two cantatas Bach used for the celebration of men in secular settings

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We look at several readings, focusing on those beyond a single keyboard

John examines 6 versions of the sonata, BWV 1029, choosing favorites

We compare a variety of solutions to performance challenges in Bach's first French suite among five albums, two using piano, three using harpsichord

John compares two recordings that highlight Bach's profound inventive approach toward a familiar Lutheran chorale with modern touches.

Bach's third orchestral suite contains his famous air.