Bach Biography

About Bach by Gregory S Butler  eBooks & eLearning

Posted by thingska at Dec. 8, 2014
About Bach by Gregory S Butler

About Bach by Gregory S Butler
English | July 3, 2008 | ISBN: 0252033442 | 232 pages | PDF | 4,8 MB

Johann Sebastian Bach: The Learned Musician  eBooks & eLearning

Posted by arundhati at Dec. 8, 2014
Johann Sebastian Bach: The Learned Musician

Christoph Wolff, "Johann Sebastian Bach: The Learned Musician"
2000 | ISBN-10: 039304825X | 544 pages | PDF | 13 MB

Johann Sebastian Bach: The Learned Musician (Repost)  eBooks & eLearning

Posted by nebulae at April 24, 2014
Johann Sebastian Bach: The Learned Musician (Repost)

Christoph Wolff, "Johann Sebastian Bach: The Learned Musician"
English | 2001 | ISBN: 0393322564 | 640 pages | EPUB | 3,2 MB

Johann Sebastian Bach: The Learned Musician  eBooks & eLearning

Posted by arundhati at Nov. 3, 2013
Johann Sebastian Bach: The Learned Musician

Christoph Wolff, "Johann Sebastian Bach: The Learned Musician"
2001 | ISBN: 0393322564 | 640 pages | EPUB | 3,2 MB
Christian Immler, Clematis, Leonardo García-Alarcón - Bach - Böhm: Music for Weddings and other Festivities (2012) [24/44]

Christian Immler, Clematis, Leonardo García-Alarcón - Bach - Böhm: Music for Weddings and other Festivities (2012)
FLAC (tracks) 24-bit/44.1 kHz | Time - 77:56 minutes | 626 MB
Studio Master, Official Digital Download | Artwork: Digital Booklet

Let us once more immerse ourselves in the musical life of Eisenach as it was at the end of the 1670s. One Sunday afternoon, after having played for the services in their respective churches, the cousins Johann Ambrosius Bach and Johann Christoph Bach were sitting in a Bierstube, each with a mug of beer and a meerschaum pipe. A moment of relaxation, with word games, laughter and a discussion about Johann Christoph’s coming marriage.
Vladimir Feltsman, Orchestra Of St. Luke's - Johann Sebastian Bach: 7 Keyboard Concertos (2009) 2CDs

Johann Sebastian Bach: 7 Keyboard Concertos (2009) 2CDs
Vladimir Feltsman, piano & conductor, Orchestra Of St. Luke's

EAC | FLAC | Image (Cue&Log) ~ 439 Mb | Mp3 (CBR320) ~ 269 Mb | Scans included
Genre: Classical | Label: Nimbus | # NI 2541/2 | Time: 01:48:11

Originally recorded for the small Music Masters label in the early '90s, this set of Bach's keyboard concertos was among a series of choice Music Masters items reissued by Nimbus late in the first decade of the 21st century. The Russians have never been known for Bach, but this is a solid traversal that can be recommended to anyone wanting to hear these concertos on a piano accompanied by modern instruments. Despite these forces, there is a good deal of influence from the British historical-instrument movement apparent here; the crisp string playing avoids any hint of Romantic sheen, and Feltsman is very subtle in his introduction of purely pianistic elements. The long notes in the slow movements tend to be just a bit more extended than would be possible on a harpsichord, and Feltsman thus creates a smooth, pearly texture that's quite lyrical. In several of the finales he pushes the tempo to high speeds, creating an entirely different effect on a piano that the music would have on a harpsichord.
Ricercar Consort, Philippe Pierlot - J.S. Bach - In Tempore Nativitatis: Christmas Cantatas BWV 110, 151, 63 (2013) [Repost]

Johann Sebastian Bach - In Tempore Nativitatis: Christmas Cantatas BWV 110, 151, 63 (2013)
Maria Keohane (soprano), Carlos Mena (alto), Julian Pregardien (tenor), Stephan MacLeod (bass)
Ricercar Consort; Philippe Pierlot, direction

EAC | FLAC | Image (Cue&Log) ~ 356 Mb | Mp3 (CBR320) ~ 171 Mb | Scans included
Classical, Choral, Sacred | Label: Mirare | # MIR243 | Time: 01:07:54

Just in time for Christmas, Philippe Pierlot and the Ricercar Consort present a collection of Cantatas for the season by Johann Sebastian Bach. In these evergreen holiday favorites, flutes, oboes, trumpets, timpani and voices are used to express the comfort and joy inspired by the Nativity. The result is nothing short of magical. The Ricercar Consort was founded in 1980 by harpsichordist and director Philippe Pierlot. They have made a significant discography, especially on the Mirare label, where their recordings have met with consistent acclaim and respect, in particular for their exceptional Bach Magnificat.

Bach: A Musical Biography  eBooks & eLearning

Posted by roxul at Nov. 24, 2017
Bach: A Musical Biography

Peter Williams, "Bach: A Musical Biography"
English | ISBN: 1107139252 | 2016 | 721 pages | PDF | 8 MB
Thomas Demenga, Hansheinz Schneeberger, Tabea Zimmermann - Johann Sebastian Bach / Sandor Veress (1993)

Johann Sebastian Bach: Suite No. 1 in G BWV 1007
Sándor Veress: Sonata for violin; Sonata for violoncello; Trio per Archi
Thomas Demenga, cello; Hansheinz Schneeberger, violin; Tabea Zimmermann, viola

EAC | FLAC | Tracks (Cue&Log) ~ 262 Mb | Mp3 (CBR320) ~ 156 Mb | Scans included
Genre: Classical | Label: ECM | # ECM New Series 1477, 437 440-2 | 01:04:14

This disc continues Thomas Demenga's project of juxtaposing Bach cello suites with contemporary compositions—by Elliott Carter (12/90), Heinz Holliger, and now Sandor Veress, whose music we can hear growing out of, and away from, its neo-classical roots in Bach's polyphony.

Akademie fur Alte Musik - Bach: Orchestral Suites (2008)  Music

Posted by ArlegZ at Sept. 22, 2010
Akademie fur Alte Musik - Bach: Orchestral Suites (2008)

Akademie fur Alte Musik - Bach: Orchestral Suites (2008)
EAC | FLAC | Image (Cue & Log) ~ 452 Mb | Total time: 74:58+22:56 | Scans included
Classical | Label: Harmonia Mundi | # 311 06402 | Recorded: 2007

The circumstances that moved Bach to relinquish his position as Kapellmeister in the placid town of Cothen in 1723 and to assume the succession of Johann Kuhnau as Cantor of St. Thomas's in Leipzig are, like so many factors in his biography, not easy to explain. Was it out of concern that, as a court musician, he would be obliged to neglect one of his most outstanding gifts as a virtuosic organist? was it because of his princely employer's gradual loss of interest in music in general and in his small, but exquisite court orchestra in particular? Or was it the gruelling religious conflict, a never ending source of agitation at the residence, where the conversion to Calvinism was a rather half-hearted affair and which posed a growing threat to the freedom of Bach's artistic activities? Question upon question. The fact that Bach's professional dreams were by no means to be fulfilled as Cantor in Leipzig, either, is amply documented: in an endless epistolary feud about what seem to be no more than ludicrously trivial vexations, but which none the less aggravated the burden of the virtually superhuman catalogue of his duties, he was constantly at loggerheads with his superiors.