Bigger Bach Set

~ Release by Various Artists (see all versions of this release, 1 available)

Annotation

the first two tracks are misleadingly titled on at least amazon and spotify: they're just BWV 903, not a transcription nor anything else they claim to be beyond that

Annotation last modified on 2025-03-05 09:40 UTC.

Tracklist

1▼Digital Media
#TitleArtistRatingLength
1Chromatic Fantasy & Fugue, BWV903: Fantasy
piano:
James Friskin (pianist)
recording of:
Chromatische Fantasie und Fuge d-Moll, BWV 903: I. Fantasie
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Chromatische Fantasie und Fuge d-Moll, BWV 903
Johann Sebastian Bach6:26
2Chromatic Fantasy & Fugue, BWV903: Fugue
piano:
James Friskin (pianist)
recording of:
Chromatische Fantasie und Fuge d-Moll, BWV 903: II. Fuge
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Chromatische Fantasie und Fuge d-Moll, BWV 903
Johann Sebastian Bach4:59
3Italian Concerto, BWV971: i. Allegro
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Italienisches Konzert F-Dur, BWV 971: I. [Allegro] (Italian Concerto in F major, BWV 971: I. [Allegro]) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1735)
part of:
Italienisches Konzert F-Dur, BWV 971 (Italian Concerto in F major, BWV 971)
Johann Sebastian Bach4:12
4Italian Concerto, BWV971: ii. Andante
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Italienisches Konzert F-Dur, BWV 971: II. Andante (Italian Concerto in F major, BWV 971: II. Andante) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1735)
part of:
Italienisches Konzert F-Dur, BWV 971 (Italian Concerto in F major, BWV 971)
Johann Sebastian Bach5:05
5Italian Concerto, BWV971: iii. Presto
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Italienisches Konzert F-Dur, BWV 971: III. Presto (Italian Concerto in F major, BWV 971: III. Presto) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1735)
part of:
Italienisches Konzert F-Dur, BWV 971 (Italian Concerto in F major, BWV 971)
Johann Sebastian Bach4:00
6Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: i. Arioso (Adagio): Ist eine Schmeichelung der Freunde, um denselben von seiner Reise abzuhalten (His friends try to persuade him not to undertake the journey)
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: I. Arioso - Adagio (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: I. Arioso - Adagio
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach1:49
7Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: ii. Andante: Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der Fremde konnten vorfallen (They tell him of the various misfortunes that may befall him abroad)
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: II. Fugato (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: II. (Andante)
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach1:17
8Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: iii. Adagiosissimo: Ist ein allgemeines Lamento der Freunde (The general lament of his friends)
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: III. Adagiosissimo (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: III. Adagiosissimo
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach2:28
9Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: iv. Allhier kommen die Freunde (weil sie doch sehen, daß es sanders nicht sein kann) und nehmen Abschied (His friends come, since they see that it must be)
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: IV. Marschmässig (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: IV. (Andante con Moto)
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach0:27
10Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: v. Allegro poco: Aria di Postiglione
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: V. Aria di Postiglione (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: V. Allegro poco. Aria de il Postiglione
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach1:06
11Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: vi. Fuga all' imitatione della cornetta di Postiglione
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34: VI. Fuga (for piano, Busoni) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
piano arranger:
Ferruccio Busoni (Italian composer, pianist, conductor, editor, writer, and teacher)
arrangement of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992: VI. Fuga al imitatione di Posta
part of:
Capriccio sopra la lontananza del suo fratello dilettissimo, BWV 992, BV B 34 (for piano, Busoni)
Johann Sebastian Bach2:20
12Sonatina, from Cantata No. 106 "Gottes Zeit ist die allerbeste Zeit (Trinity), BWV106," arr. Friskin
piano:
James Friskin (pianist)
arranger:
James Friskin (pianist)
recording of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit": I. Sonatina (catch all for arrangements)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
arrangement of:
Kantate, BWV 106 "Gottes Zeit ist die allerbeste Zeit": I. Sonatina
Johann Sebastian Bach2:48
13Toccata in C Minor, BWV911
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Toccata in C minor, BWV 911 (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Bach-Werke-Verzeichnis (number: BWV 911)
Johann Sebastian Bach10:07
14French Suite No. 3 in B Minor BWV814: i. Allemande
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: I. Allemande (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach2:08
15French Suite No. 3 in B Minor BWV814: ii. Courante
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: II. Courante (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach1:24
16French Suite No. 3 in B Minor BWV814: iii. Sarabande
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: III. Sarabande (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach2:36
17French Suite No. 3 in B Minor BWV814: iv. Menuet and Trio
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: IV. Anglaise (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: V. Menuet I (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach1:22
18French Suite No. 3 in B Minor BWV814: v. Gavotte
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: VI. Menuet II - Menuet I da capo (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach2:59
19French Suite No. 3 in B Minor BWV814: vi. Gigue
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 3 h-Moll, BWV 814: VII: Gigue (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite Nr. 3 h-Moll, BWV 814 (French Suite No. 3 in B minor, BWV 814)
Johann Sebastian Bach1:14
20French Suite No. 4 in E-flat Major, BWV815: i. Allemande
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: I. Allemande (similar in BWV 815.1 (I), 815.2 (I) & 815.3 (II)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.3/815a (alternative movements for BWV 815)
Johann Sebastian Bach1:21
21French Suite No. 4 in E-flat Major, BWV815: ii. Courante
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: II. Courante (similar in BWV 815.1 (II), 815.2 (II) & 815.3 (III)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.3/815a (alternative movements for BWV 815)
Johann Sebastian Bach1:15
22French Suite No. 4 in E-flat Major, BWV815: iii. Sarabande
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: III. Sarabande (similar in BWV 815.1 (III), 815.2 (III) & 815.3 (IV)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.3/815a (alternative movements for BWV 815)
Johann Sebastian Bach1:34
23French Suite No. 4 in E-flat Major, BWV815: iv. Gavotte
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: IV. Gavotte (I) (similar in BWV 815.1 (IV), 815.2 (IV) & 815.3 (V)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.3/815a (alternative movements for BWV 815)
Johann Sebastian Bach1:07
24French Suite No. 4 in E-flat Major, BWV815: v. Air
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: V. Air (similar in BWV 815.1 (V), 815.2 (VI) & 815.3 (VII)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.3/815a (alternative movements for BWV 815)
Johann Sebastian Bach1:25
25French Suite No. 4 in E-flat Major, BWV815: vi. Menuet
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815: VI. Menuett (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
Johann Sebastian Bach0:58
26French Suite No. 4 in E-flat Major, BWV815: vii. Gigue
piano:
James Friskin (pianist) (in 1954)
recorded at:
Vanguard Studios (23rd Street, New York) in New York, New York, United States (in 1954)
recording of:
Französische Suite no. 4 Es-Dur, BWV 815: VII. Gigue (similar in BWV 815.1 (VI), 815.2 (VII)) (in 1954)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Französische Suite no. 4 Es-Dur, BWV 815.1/815 (early first version (A))
part of:
Französische Suite no. 4 Es-Dur, BWV 815.2/815 (French Suite No. 4 in E-flat major, BWV 815, later revised version (B))
Johann Sebastian Bach2:31
27Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: i. Chorus: Wachet auf, ruft uns die Stimme
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": I. Coro "Wachet auf, ruft uns die Stimme" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach7:15
28Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: ii. Recitative (Tenor): Er kommt, er kommt, der Bräutigam kommt
violin:
Alfred Uhl (in 1951)
tenor vocals:
Fritz Uhl (tenor) (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": II. Recitativo (Tenor) "Er kommt, er kommt, der Bräutgam kommt!" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach1:13
29Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: iii. Duet (Soprano, Bass): Wenn kömmst du, mein Heil
baritone vocals:
Hans Braun (baritone) (in 1951)
soprano vocals:
Anny Felbermayer (soprano) (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": III. Aria (Sop, Bass) "Wann kömmst du, mein Heil?" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach6:05
30Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: iv. Chorus: Zion hört die Wächter singen ('Sleeper's Awake')
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": IV. Choral (Tenor) “Zion hört die Wächter singen” (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach4:39
31Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: v. Recitative (Bass): So geh herein zu mir
baritone vocals:
Hans Braun (baritone) (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": V. Recitativo (Bass) "So geh herein zu mir" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach1:49
32Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: vi. Duet (Soprano, Bass): Mein Freund ist mein!
baritone vocals:
Hans Braun (baritone) (in 1951)
soprano vocals:
Anny Felbermayer (soprano) (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": VI. Aria (Sop, Bass) "Mein Freund ist mein" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach4:14
33Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: vii. Chorale: Gloria sei dir gesungen
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme": VII. Choral "Gloria sei dir gesungen" (in 1951)
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1731-11-25)
lyricist:
Philipp Nicolai
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1731)
part of:
Breitkopf 389 Choralgesänge (number: 329)
is based on:
Wachet auf, ruft uns die Stimme
part of:
Kantate, BWV 140 "Wachet auf, ruft uns die Stimme"
Johann Sebastian Bach1:56
34Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: i. Sinfonia in E Minor; Chorus: Christ lag in Todesbanden
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": I. Sinfonia (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": II. Coro Versus I "Christ Lag in Todes Banden" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach5:46
35Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: ii. Duet (Soprano, Alto): Den Tod niemand zwingen kunnt
alto vocals:
The Bach Guild Choir (in 1951)
soprano vocals:
Anny Felbermayer (soprano) (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": III. Duetto (Soprano, Alto) Versus II "Den Tod niemand zwingen kunnt" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach3:51
36Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: iii. Aria (Tenor): Jesus Christus, Gottes Sohn
violin:
Alfred Uhl (in 1951)
tenor vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": IV. Aria (Tenore) Versus III "Jesus Christus, Gottes Sohn" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach2:04
37Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: iv. Chorus: Es war ein wunderlicher Krieg
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": V. Coro Versus IV "Es war ein wunderlicher Krieg" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach2:33
38Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: v. Aria (Bass): Hier ist das rechte Osterlamm
baritone vocals:
Hans Braun (baritone)
choir vocals:
The Bach Guild Choir
orchestra:
The Bach Guild
conductor:
Felix Prohaska (conductor)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VI. Aria (Basso) Versus V "Hier ist das rechte Osterlamm"
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach3:49
39Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: vi. Duet (Soprano, Tenor): So feiern wir das hohe Fest
violin:
Alfred Uhl (in 1951)
soprano vocals:
Anny Felbermayer (soprano) (in 1951)
tenor vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VII. Duetto (Soprano, Tenore) Versus VI "So feiern wir das hohe Fest" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach1:57
40Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: vii. Chorus: Wir essen und leben wohl
choir vocals:
The Bach Guild Choir (in 1951)
orchestra:
The Bach Guild (in 1951)
conductor:
Felix Prohaska (conductor) (in 1951)
recording of:
Kantate, BWV 4 "Christ lag in Todesbanden": VIII. Choral Versus VII "Wir essen und leben wohl" (in 1951)
composed in:
Mühlhausen, Thüringen (Thuringia), Germany (from 1707 until 1708)
revised in:
Leipzig, Sachsen (Saxony), Germany (from 1724 until 1725)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1707)
librettist:
Martin Luther (German theologian of the Reformation) (in 1524)
part of:
Breitkopf 389 Choralgesänge (number: 41)
part of:
Kantate, BWV 4 "Christ lag in Todesbanden" (Leipzig version, commonly recorded)
Johann Sebastian Bach1:18
41Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: i. Chorale: Das neugeborne Kindelein
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": I. Coro "Das neugeborne Kindelein" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach2:51
42Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: ii. Aria (Bass): O Menschen, die ihr täglich sündigt
bass vocals:
Harald Hermann (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": II. Aria (Bass) "O Menschen, die ihr täglich sündigt" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach6:01
43Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: iii. Recitative and Chorale (Soprano): Die Engel, welche sich zuvor
soprano vocals:
Margit Opawsky (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": III. Recitativo (Sopran) "Die Engel, welche sich zuvor" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach1:29
44Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: 044 iv. Chorale (Alto) and Duet (Soprano, Tenor): Ist Gott versöhnt
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1952)
contralto vocals:
Hilde Rössel‐Majdan (Austrian contralto) (in 1952)
soprano vocals:
Margit Opawsky (in 1952)
tenor vocals:
Waldemar Kmentt (tenor) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": IV. Terzetto (Sopran, Alt, Tenor) con Choral (Coro Alt) "Ist Gott versöhnt" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach2:21
45Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: v. Recitative (Bass): Dies ist ein Tag, den selbst der Herr gemacht
bass vocals:
Harald Hermann (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": V. Recitativo (Bass) "Dies ist ein Tag, den selbst der Herr gemacht" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach1:26
46Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: vi. Chorale: Es bringt das rechte Jubeljahr
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 122 "Das neugeborne Kindelein": VI. Choral "Es bringt das rechte Jubeljahr" (in 1952)
lyricist:
Cyriacus Schneegaß
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
premiered at:
Thomaskirche (St. Thomas Church) in Leipzig, Sachsen (Saxony), Germany (on 1724-12-31)
part of:
Breitkopf 389 Choralgesänge (number: 57)
part of:
Kantate, BWV 122 "Das neugeborne Kindelein"
Johann Sebastian Bach0:45
47Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: i. Chorale: Ich freue mich in dir
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": I. Coro "Ich freue mich in dir" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach4:34
48Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: ii. Aria (Alto): Getrost! es faßt ein heilger Leib
contralto vocals:
Hilde Rössel‐Majdan (Austrian contralto) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": II. Aria (Alt) "Getrost! es faßt ein heilger Leib" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach5:36
49Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: iii. Recitativo (Tenor): Ein Adam mag sich voller Schrecken
tenor vocals:
Waldemar Kmentt (tenor) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": III. Recitativo (Tenor) "Ein Adam mag sich voller Schrecken" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach1:09
50Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: iv. Aria (Soprano): Wie lieblich klingt es in den Ohren
soprano vocals:
Margit Opawsky (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": IV. Aria (Sopran) "Wie lieblich klingt es in den Ohren" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach9:24
51Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: v. Recitative (Bass): Wohlan, des Todes Furcht und Schmerz
bass vocals:
Harald Hermann (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": V. Recitativo (Bass) "Wohlan, des Todes Furcht und Schmerz" (in 1952)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach1:08
52Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: vi. Chorale: Wohlan, so will ich mich
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1952)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra) (in 1952)
conductor:
Michael Gielen (Austrian conductor and composer) (in 1952)
recording of:
Kantate, BWV 133 "Ich freue mich in dir": VI. Choral "Wohlan, so will ich mich" (in 1952)
lyricist:
Caspar Ziegler (German hymn writer)
composer:
Johann Sebastian Bach (German Baroque period composer & musician) (in 1724)
part of:
Breitkopf 389 Choralgesänge (number: 181)
part of:
Kantate, BWV 133 "Ich freue mich in dir"
Johann Sebastian Bach1:17
53Magnificat in D, BWV243: i. Coro: Magnificat anima mea
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: I. Coro "Magnificat anima mea"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach3:10
54Magnificat in D, BWV243: ii. Aria: Et exsultavit spiritus meus
soprano vocals:
Margarethe Sjöstedt (soprano)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: II. Aria (Sopran II) "Et exsultavit spiritus meus"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:29
55Magnificat in D, BWV243: iii. Aria: Quia respexit humilitatem
soprano vocals:
Mimi Coertse (soprano)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: III. Aria (Sopran I) "Quia respexit"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:50
56Magnificat in D, BWV243: iv. Coro: Omnes generationes
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: IV. Coro "Omnes generationes"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach1:34
57Magnificat in D, BWV243: v. Aria: Quia fecit mihi magna
baritone vocals:
Frederick Guthrie (operatic bass)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: V. Aria (Bass) "Quia fecit mihi magna"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:15
58Magnificat in D, BWV243: vi. Duetto: Et misericordia
contralto vocals:
Hilde Rössel‐Majdan (Austrian contralto)
tenor vocals:
Anton Dermota (tenor)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: VI. Aria (Alt, Tenor) "Et misericordia"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach3:51
59Magnificat in D, BWV243: vii. Coro: Fecit potentiam
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: VII. Coro "Fecit potentiam"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:06
60Magnificat in D, BWV243: viii. Aria: Deposuit potentes
tenor vocals:
Anton Dermota (tenor)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: VIII. Aria (Tenor) "Deposuit potentes"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:24
61Magnificat in D, BWV243: ix. Aria: Esurientes implevit bonis
contralto vocals:
Hilde Rössel‐Majdan (Austrian contralto)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: IX. Aria (Alt) "Esurientes implevit bonis"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:52
62Magnificat in D, BWV243: x. Terzetto: Suscepit Israel
contralto vocals:
Hilde Rössel‐Majdan (Austrian contralto)
soprano vocals:
Mimi Coertse (soprano) and Margarethe Sjöstedt (soprano)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: X. Aria (Sopran I, Sopran II, Alt) "Suscepit Israel"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:18
63Magnificat in D, BWV243: xi. Coro: Sicut locutus est
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: XI. Coro "Sicut locutus est"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach1:23
64Magnificat in D, BWV243: xii. Coro: Gloria Patri
choir vocals:
Wiener Kammerchor (Vienna Chamber Choir, choir)
orchestra:
Orchester der Wiener Staatsoper (Vienna State Opera Orchestra)
conductor:
Michael Gielen (Austrian conductor and composer)
recording of:
Magnificat D-Dur, BWV 243: XII. Coro "Gloria Patri"
premiered in:
Leipzig, Sachsen (Saxony), Germany (on 1733-07-02)
composed in:
Leipzig, Sachsen (Saxony), Germany (from 1728 until 1731)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Magnificat D-Dur, BWV 243
Johann Sebastian Bach2:11
65Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: i. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier h-Moll, BWV 1014: I. Adagio
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier h-Moll, BWV 1014
Johann Sebastian Bach4:38
66Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: ii. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier h-Moll, BWV 1014: II. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier h-Moll, BWV 1014
Johann Sebastian Bach3:22
67Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: iii. Andante
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier h-Moll, BWV 1014: III. Andante
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier h-Moll, BWV 1014
Johann Sebastian Bach3:49
68Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: iv. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier h-Moll, BWV 1014: IV. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier h-Moll, BWV 1014
Johann Sebastian Bach3:33
69Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: i. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier A-Dur, BWV 1015: I. Dolce
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier A-Dur, BWV 1015
Johann Sebastian Bach3:48
70Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: ii. Allegro assai
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier A-Dur, BWV 1015: II. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier A-Dur, BWV 1015
Johann Sebastian Bach3:09
71Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: iii. Andante un poco
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier A-Dur, BWV 1015: III. Andante un poco
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier A-Dur, BWV 1015
Johann Sebastian Bach4:05
72No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: iv. Presto
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier A-Dur, BWV 1015: IV. Presto
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier A-Dur, BWV 1015
Johann Sebastian Bach4:54
73Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: i. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier E-Dur, BWV 1016: I. Adagio
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier E-Dur, BWV 1016
Johann Sebastian Bach6:48
74Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: ii. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier E-Dur, BWV 1016: II. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier E-Dur, BWV 1016
Johann Sebastian Bach3:13
75Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: iii. Adagio ma non tanto
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier E-Dur, BWV 1016: III. Adagio ma non tanto
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier E-Dur, BWV 1016
Johann Sebastian Bach6:09
76Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: iv. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier E-Dur, BWV 1016: IV. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier E-Dur, BWV 1016
Johann Sebastian Bach3:47
77Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: i. Siciliano
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier c-Moll, BWV 1017: I. Largo
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier c-Moll, BWV 1017
Johann Sebastian Bach7:20
78Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: ii. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier c-Moll, BWV 1017: II. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier c-Moll, BWV 1017
Johann Sebastian Bach4:42
79Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: iii. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier c-Moll, BWV 1017: III. Adagio
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier c-Moll, BWV 1017
Johann Sebastian Bach4:44
80Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: iv. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier c-Moll, BWV 1017: IV. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier c-Moll, BWV 1017
Johann Sebastian Bach4:36
81Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: i. Largo
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier f-Moll, BWV 1018: I.
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier f-Moll, BWV 1018
Johann Sebastian Bach7:35
82Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: ii. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier f-Moll, BWV 1018: II. Allegro
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier f-Moll, BWV 1018
Johann Sebastian Bach4:45
83Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: iii. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier f-Moll, BWV 1018: III. Adagio
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier f-Moll, BWV 1018
Johann Sebastian Bach5:33
84Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: iv. Vivace
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Klavier f-Moll, BWV 1018: IV. Vivace
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Klavier f-Moll, BWV 1018
Johann Sebastian Bach2:10
85Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: i. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3: I. Allegro (Sonata for Violin and Harpsichord in G major, BWV 1019.1: I. Allegro, former BWV 1019, same in 1019.1 (I & VI), 1019.2 (I) & 1019.3 (I))
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.1 (Sonata for Violin and Harpsichord in G major, BWV 1019.1, former 1019a, 1. version)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.1 (Sonata for Violin and Harpsichord in G major, BWV 1019.1, former 1019a, 1. version)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.2 (Sonata for Violin and Harpsichord in G major, BWV 1019.2, former 1019a, 2. version)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3 (Sonata for Violin and Harpsichord in G major, BWV 1019.3, former BWV 1019)
Johann Sebastian Bach3:47
86Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: ii. Largo
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3: II. Largo (Sonata for Violin and Harpsichord in G major, BWV 1019.3: II. Largo, former BWV 1019)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3 (Sonata for Violin and Harpsichord in G major, BWV 1019.3, former BWV 1019)
Johann Sebastian Bach2:08
87Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: iii. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3: III. Allegro (Sonata for Violin and Harpsichord in G major, BWV 1019.3: III. Allegro, former BWV 1019)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3 (Sonata for Violin and Harpsichord in G major, BWV 1019.3, former BWV 1019)
Johann Sebastian Bach5:14
88Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: iv. Adagio
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3: IV. Adagio (Sonata for Violin and Harpsichord in G major, BWV 1019.3: IV. Adagio, former BWV 1019)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3 (Sonata for Violin and Harpsichord in G major, BWV 1019.3, former BWV 1019)
Johann Sebastian Bach4:16
89Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: v. Allegro
harpsichord:
Fernando Valenti
violin:
James Buswell
recording of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3: V. Allegro (Sonata for Violin and Harpsichord in G major, BWV 1019.3: V. Allegro, former BWV 1019)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
part of:
Sonate für Violine und Cembalo G-dur, BWV 1019.3 (Sonata for Violin and Harpsichord in G major, BWV 1019.3, former BWV 1019)
Johann Sebastian Bach3:06
90Passion According to St. Matthew, BWV 244: 1. Chorus: Kommt, ihr Töchter, helft mir klagen
choir vocals:
Knabenchor des Schottenstift (in 1959) and Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
chorus master:
Anton Heiller (Austrian organist, composer and conductor) (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, I. Chor I & II "Kommt, ihr Töchter, helft mir klagen" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach8:57
91Passion According to St. Matthew, BWV 244: 2. Recitative (Evangelist, Jesus): Da Jesus diese Rede vollendet hatte
bass vocals [Jesus]:
Hans Braun (baritone) (in 1959)
tenor vocals [Evangelist]:
Uno Ebrelius (Swedish tenor) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, II. Rezitativ (Evangelist, Jesus) "Da Jesus diese Rede vollendet hatte" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach0:45
92Passion According to St. Matthew, BWV 244: 3. Chorale: Herzliebster Jesu, was hast du verbrochen
choir vocals:
Knabenchor des Schottenstift (in 1959) and Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
chorus master:
Anton Heiller (Austrian organist, composer and conductor) (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, III. Choral "Herzliebster Jesu, was hast du verbrochen" (in 1959)
lyricist:
Johann Heermann
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Breitkopf 389 Choralgesänge (number: 166)
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach1:03
93Passion According to St. Matthew, BWV 244: 4. Recitative (Evangelist): Da versammelten sich die Hohenpriester
tenor vocals [Evangelist]:
Uno Ebrelius (Swedish tenor) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) - IVb. Cori "Ja nicht auf das Fest" - IVc. "Da nun Jesus war zu Bethanien" (Evangelista) - IVd. Coro "Wozu dienet dieser Unrat" - IVe. "Da das Jesus merkete"
Johann Sebastian Bach0:29
94Passion According to St. Matthew, BWV 244: 5. Chorus: Ja nicht auf das Fest
choir vocals:
Knabenchor des Schottenstift (in 1959) and Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
chorus master:
Anton Heiller (Austrian organist, composer and conductor) (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, IVb. Cori "Ja nicht auf das Fest" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) - IVb. Cori "Ja nicht auf das Fest" - IVc. "Da nun Jesus war zu Bethanien" (Evangelista) - IVd. Coro "Wozu dienet dieser Unrat" - IVe. "Da das Jesus merkete"
Johann Sebastian Bach0:20
95Passion According to St. Matthew, BWV 244: 6. Recitative (Evangelist): Da nun Jesus war zu Bethanien
tenor vocals [Evangelist]:
Uno Ebrelius (Swedish tenor) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, IVc. "Da nun Jesus war zu Bethanien" (Evangelista) (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) - IVb. Cori "Ja nicht auf das Fest" - IVc. "Da nun Jesus war zu Bethanien" (Evangelista) - IVd. Coro "Wozu dienet dieser Unrat" - IVe. "Da das Jesus merkete"
Johann Sebastian Bach0:33
96Passion According to St. Matthew, BWV 244: 7. Chorus: Wozu dienet dieser Unrath
choir vocals:
Knabenchor des Schottenstift (in 1959) and Wiener Kammerchor (Vienna Chamber Choir, choir) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
chorus master:
Anton Heiller (Austrian organist, composer and conductor) (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, IVd. Coro "Wozu dienet dieser Unrat" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) - IVb. Cori "Ja nicht auf das Fest" - IVc. "Da nun Jesus war zu Bethanien" (Evangelista) - IVd. Coro "Wozu dienet dieser Unrat" - IVe. "Da das Jesus merkete"
Johann Sebastian Bach0:35
97Passion According to St. Matthew, BWV 244: 8. Recitative (Evangelist): Da das Jesus merkete
bass vocals [Jesus]:
Hans Braun (baritone) (in 1959)
tenor vocals [Evangelist]:
Uno Ebrelius (Swedish tenor) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, IVe. "Da das Jesus merkete" (Evangelista, Jesus) (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I, IVa. "Da versammelten sich die Hohenpriester" (Evangelista) - IVb. Cori "Ja nicht auf das Fest" - IVc. "Da nun Jesus war zu Bethanien" (Evangelista) - IVd. Coro "Wozu dienet dieser Unrat" - IVe. "Da das Jesus merkete"
Johann Sebastian Bach1:27
98Passion According to St. Matthew, BWV 244: 9. Recitative (Alto): Du lieber Heiland du
alto vocals:
Hilde Rössel‐Majdan (Austrian contralto) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, V. Accompagnato-Rezitativ (Alt) "Du lieber Heiland du" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach1:11
99Passion According to St. Matthew, BWV 244: 10. Aria (Alto): Buß und Reu
alto vocals:
Hilde Rössel‐Majdan (Austrian contralto) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, VI. Arie (Alt) "Buß und Reu" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach5:22
100Passion According to St. Matthew, BWV 244: 11. Recitative (Evangelist, Judas): Da ging hin der Zwölfen einer
tenor vocals [Evangelist]:
Uno Ebrelius (Swedish tenor) (in 1959)
orchestra:
Wiener Kammerorchester (Vienna Chamber Orchestra) (in 1959)
conductor:
Mogens Wöldike (in 1959)
recording of:
Matthäus-Passion, BWV 244: Teil I, VII. Rezitativ (Evangelist, Judas) "Da ging hin der Zwölfen einer" (in 1959)
composer:
Johann Sebastian Bach (German Baroque period composer & musician)
librettist:
Picander
part of:
Matthäus-Passion, BWV 244: Teil I
Johann Sebastian Bach0:41
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ASIN:US: B00C0QHX02 [info]