Miles & Huberman, Citados en Ott, J. S. (1989) The Organizational Culture Perspective, Oak Grove, Ca, Brooke Cole.

Liebster Jesu, mein Verlangen (Dearest Jesus, my desire), BWV 32, is a church cantata by Johann Sebastian Bach. He composed the dialogue cantata (Concerto in Dialogo) in Leipzig for the first Sunday after Epiphany and first performed it on 13 January 1726 as part of his third cantata cycle.

Here is a package that satisfies intellectual curiosity and is musically delightful. This two-disc set begins with a precise, but still musical, harpsichord performance of Bach's Goldberg Variations by Céline Frisch. Her Aria is clean, with both the melody and the bass line countermelody clear and phrased so that everything comes together well. Her ornaments fit naturally into the melodies throughout the variations, without drawing attention away from the tune, and she always has a sense of direction and forward momentum. The second disc contains the 14 canons on the first eight notes of the bass of the Aria from the Goldberg Variations and the two songs that are contained in the quodlibet near the end of the Variations. The canons are rich and warm performed by Café Zimmermann, a string sextet that includes a double bass, with excellent contrasts in the feel of each canon. The song Cabbages and Turnips Have Driven Me Away is the highlight of the two discs. Period instruments accompany Dominique Visse as he sings about a hunter bringing a girl home to meet his mother. Visse switches from a jolly, idiomatic tenor voice for the hunter to a smooth alto for the girl, and a slightly grating alto for the mother, often in mid-verse.

Gidon Kremer has again recorded the Sonatas and Partitas for Solo Violin of Bach and while his facility and technical grace are intact, in this recording he appears to have been deeply influenced by his time with the moderns (Adams, Pärt, Schnittke, Piazzola, Glass, et al). For this listener it seems that studying and performing these contemporary composers' manipulation of sound and instrumental scope has enriched Kremer's thought about the perfection of Bach. Not everyone will agree with Kremer's approach to these works on this new recording, but for those who know Bach's solo violin pieces there are pleasures in store. Remaining technically suave and with a luxuriant tone, Kremer seems to be communicating with the psychological Bach, offering different tempi and more soulful approaches than those of his colleagues. The results are mesmerizing. Highly recommended.

This 2-fer of Scott Ross' Goldberg Variations, plus selections from Frescobaldi's 1616 &1627 publications could hardly be better. The clarity of the lines in the Goldbergs alone is worth the price. The Frescobaldi selections are fresh and pleasing. As always, Mr. Ross plays in a lively, incisive, yet unaffected manner.

From the irresitably forceful opening bars of the English Suite's prelude to the throbbing repeated octaves of the D minor concerto, Richter shows why many of Bach's works are ideally suited to the piano. The Bach concerto is often regarded as a student piece, or relegated to refined performances on the harpsichord. Not here – the bookend movements are as maniacal, pulsing and driving as the best of John Coltrane or Prokofiev. The CD is worth it just for those movements, but Richter's treatment of the English Suite is equally enlightening, especially the Prelude and Gavotte.

Julian Bream is, without a doubt, one of the premiere classical guitarists of the modern recording era. Comparisons between great guitarists is often unfair and misleading as they each have their own styles - and each musician and his/her style tends to be particularly well suited to certain types of music. For example, Andres Segovia's style, cultivated by self-teaching throughout his now ended life, concentrated on flowing legatto smoothness and flowing melodies. Bream's, on the other hand, while equally masterful, is better characterized as emphasizing the precision and crispness of each and every individual note. What better composer to focus on to show this particular proclivity that J. S. Bach, whose work, having been written largely for the keyboards (harpsichord) but also for the lute and triple harp, tends to emphasize the kinds of music Bream excels at. Stacatto phrasings, each written to be played with crystalline exactness, are the types of pieces wherein Bream's magnificence is conspicuous and best showcased. Thus, the special relevance of this particular compilation of some of his best Bach work on this CD.

Originally released between 1975 to 1991 on the now-defunct Calliope label, Andre Isoir's recordings of the complete organ works of Bach have been unanimously acclaimed by both the press and the public. La Dolce Volta now offers these landmark recordings (unavailable since 2008), completely remastered, in a deluxe, specially priced boxed set. The set includes a 152 page, full color booklet rich with photos and information about the music and the recordings.