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In October 1774, Carl Philipp Emanuel Bach sent Johann Nikolaus Forkel, who was slowly gathering material for a biography of J. S. Bach, a parcel of his father's music. It contained eleven "Trii," some organ pieces with a pedal part, the variations on "Vom Himmel hoch" and a covering note. "The six Clavier trios—[violin sonatas, but notice Emanuel's choice of words]—are among my departed father's best works. They still sound splendid and give me much pleasure, although they were written more than fifty years ago. Some of their slow movements ("Adagii") could not be set more lyrically even today. I beg you, as the scores are very tattered, to take good care of them.” The other five "trios" were presumably the two for flute in B minor and A major (BWV 1030) The word "trio" was a normal eighteenth century description for a three-voice piece with the second melody line taken by the keyboard right hand—“violin sonata" would imply a solo violin with harpsichord continuo.

Colin Davis’s 1969 recording remains a landmark event, the first time this grand opera of Meyerbeerian length, spectacular éclat and Wagnerian artistic ambition had found its way complete onto LP. It effectively changed views about Berlioz the opera composer and orchestral genius and has for many remained the yardstick by which all later performances have been judged. Although studio recorded, it was based on the Covent Garden casting of the day – Jon Vickers’s heroic Aeneas and Josephine Veasey’s voluptuous Dido – with a couple of Frenchmen to boost the ranks of lesser Trojans and Carthaginians…

Tafelmusik Baroque Orchestra celebrates the genius of J.S. Bach with "Best of German Baroque: J.S. Bach." This compilation includes tracks newly recorded in 2015, as well as music from the genre-defying, multi-media concert programmes The Galileo Project and House of Dreams, recorded for Tafelmusik Media on DVD and CD in 2009 and 2012.
The album features instrumental versions of Sheep May Safely Graze and How Brightly Shines the Morning Star, specially arranged by Alison Mackay.
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“Choir director Ivars Taurins helps the ensemble capture both with energetic thrusts and tight ensemble, while soloists Ann Monoyios and Colin Ainsworth are in sync in the duet on Gloria patri.” –Gramophone Magazine

Ce Concert chez la Reine, par les Ombres un jeune ensemble de musique baroque de la nouvelle génération, en résidence à Ambronay, est saisissant de réalisme dans la reconstitution historique authentique. Dès les premières secondes, j'ai eu l'impression d'être dans une salle éclairée par des bougies, entourée de dames en costumes et de marquis emperruqués Louis XV.

In his recording of Bach's 48 Colin Tilney, unlike his fellow competitors in the same repertory, plays both a clavichord (Book 1) and a harpsichord (Book 2). Why not? Bach's title for the first book of 24 preludes and fugues, The Well-tempered Clavier leaves both this issue and that of tuning wide open. The clavichord was a favourite instrument of Bach's, so was the harpsichord and the organ; indeed, I am sorry that Tilney does not include a chamber organ since some of the pieces, the E major Prelude and Fugue (Book 2), for instance, seem well-suited to it. Tilney's performance of the 48 differs again from almost if not all others in the sequence which he adopts in playing the preludes and fugues. But an apparently random approach is in fact nothing of the kind, but one that is directly linked with tuning. We know that Bach himself was a master in matters of tuning as he was in all other aspects of his craft. What we do not know is the exact nature of his tuning.