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The J.S. Bach Foundation has embarked on a remarkable undertaking: over a period of some 25 years, the Foundation will perform the complete vocal works by Johann Sebastian Bach (16851750). Each month, one of the over 200 Bach cantatas is performed in the idyllic town of Trogen in Appenzell, Switzerland. With a rhythm of 12 cantatas per year, the project is estimated to conclude in the year 2030. All introductory workshops, concerts and reflection lectures on the cantata texts are recorded; the texts of the lectures are published in a continually expanding Bach Anthology. The main aim of the J.S. Bach Foundation's ambitious project is to provide a living Bach experience for today's listeners and to deepen our understanding of the great composer's works. The artistic director of the foundation is Rudolf Lutz, who rehearses and conducts all performances with the choir, orchestra and solo vocalists.

The J.S. Bach Foundation has embarked on a remarkable undertaking: over a period of some 25 years, the Foundation will perform the complete vocal works by Johann Sebastian Bach (16851750). Each month, one of the over 200 Bach cantatas is performed in the idyllic town of Trogen in Appenzell, Switzerland. With a rhythm of 12 cantatas per year, the project is estimated to conclude in the year 2030. All introductory workshops, concerts and reflection lectures on the cantata texts are recorded; the texts of the lectures are published in a continually expanding Bach Anthology. The main aim of the J.S. Bach Foundation's ambitious project is to provide a living Bach experience for today's listeners and to deepen our understanding of the great composer's works. The artistic director of the foundation is Rudolf Lutz, who rehearses and conducts all performances with the choir, orchestra and solo vocalists.

The J.S. Bach Foundation has embarked on a remarkable undertaking: over a period of some 25 years, the Foundation will perform the complete vocal works by Johann Sebastian Bach (16851750). Each month, one of the over 200 Bach cantatas is performed in the idyllic town of Trogen in Appenzell, Switzerland. With a rhythm of 12 cantatas per year, the project is estimated to conclude in the year 2030. All introductory workshops, concerts and reflection lectures on the cantata texts are recorded; the texts of the lectures are published in a continually expanding Bach Anthology. The main aim of the J.S. Bach Foundation's ambitious project is to provide a living Bach experience for today's listeners and to deepen our understanding of the great composer's works. The artistic director of the foundation is Rudolf Lutz, who rehearses and conducts all performances with the choir, orchestra and solo vocalists.

The J. S. Bach Foundation is performing the complete vocal works of Johann Sebastian Bach over the course of around 25 years. Each month, one of Bachs over 200 cantatas is performed in the town of Trogen, in Switzerlands idyllic canton of Appenzell. Bach Kantaten N°12 contains three cantatas: «Wachet! Betet! Betet! Wachet», Cantata BWV 70; «Süßer Trost, mein Jesus kömmt», Cantata BWV 151 and «Allein zu dir, Herr Jesu Christ», Cantata BWV 33.

Die Sängerinnen und Sänger werden begleitet von einem handverlesenen Ensemble hervorragender, historisierend spielender Instrumentalisten; hinzu kommt ein Chor aus professionellen Gesangskräften. Musikalisch gesehen ist Rudolf Lutz die Seele des Projekts (…). Seine besondere Fähigkeit, nicht nur nachschöpfend, sondern auch kreativ in die Wunderwelt der musikalischen Strukturen eintauchen zu können, ist einer der Gründe für seine tiefe Verbundenheit mit der Musik von Bach.

Five CD box set containing a quintet of original albums from this Blues/Rock/Pop outfit: "Live" Full House, Bloodshot, Ladies Invited, The J. Geils Band and The Morning After.

Two artists had an enormous impact on Eric Clapton's music in the '70s: Delaney & Bonnie and J.J. Cale. Clapton joined Delaney & Bonnie's backing band after Cream dissolved, an experience that helped him ease away from the bombast of the power trio and into the blend of soul, blues, pop, and rock that defined his solo sound…

The Father, the Son and the Godfather is a snapshot from a time when art music escaped from the courts and churches. Domestic music-making in the company of close friends became a treasured extension of social interaction, and the resulting boom in ‘market opportunities’ offered composers a tremendous freedom in their choices of genres and styles, as demonstrated by this colourful programme. It features three composers whose music could not be more different, taking into account that all works were composed during the span of only two generations by authors who knew each other better than just well: J.S. Bach (the father), C.P.E. Bach (the son) and Georg Philipp Telemann (CPE’s godfather).

THREE CELLO SUITES from clarinetist Joshua Ranz and Navona Records is a truly groundbreaking take on Bach’s legendary works; In this album, for the first time ever, listeners may enjoy three unabridged cello suites by Bach arranged for the bass clarinet. Ranz selected Suites 1, 4, and 2 for this recording because, together, they form a cohesive and dynamic whole. Ranz holds the chair of principal clarinet for the Los Angeles Chamber Orchestra, and has played on such blockbuster soundtracks as Toy Story 3 and 4, and Star Wars episodes VII and IX. He can be heard prominently featured in La La Land, Catch Me If You Can, and An American Pickle. Ranz lends a fresh voice to Bach’s profoundly-beautiful music in THREE CELLO SUITES.

Le prestigieux Collegium Musicum créé par Telemann fut l'orchestre attitré de Bach lorsqu'il prit ses fonctions à Leipzig. Il put ainsi tester avec cette formation de nouvelles associations de timbres que l'on retrouve dans le Concerto pour clavecin BWV 1052, le Concerto pour piano forte en si bémol majeur et le Triple Concerto BWV 1044. Il s'agit parfois de transcriptions et d'adaptations, d'œuvres originellement pour violon, mais le résultat est étonnant de brio et de force expressive. Il faut écouter ce fameux Triple Concerto pour flûte, violon, clavecin et cordes porté par les couleurs de l'Akademie für Alte Musik : on y retrouve l'impulsion rythmique, la richesse de tempérament du Concerto Brandebourgeois n° 5, un esprit de danse et de fête qui privilégient sans conteste le clavier.