The J. S. Bach Files Podcast

We’ll look at Sonata No.1 in F Minor, BWV 1001, and Partita No, 1 in B Minor, BWV 1002.

We’ll look at two cantatas from Quasimodo Geniti Sunday, the first Sunday after Easter: Cantata BWV 67, titled in English Translation “Hold in Remembrance Jesus Christ,” and BWV 42, in English Translation "On the Evening of the Same Sabbath.”

We’re going to look at various early organ works by Bach including Prelude and Fugue in C Major, BWV 531; Prelude and Fugue in E Minor, BWV 533; “Little” G Minor Fugue, BWV 578; Toccata and Fugue in D Minor, BWV 565; and Chorale Prelude BWV 599 from “Das Orgel-Buchlein.”

We’re going to look at Bach’s famous Goldberg Variations, BWV 988, perhaps the most remarkable set of variations composed in the Baroque period.

We’re going to surveyTelemann’s instrumental music, from unaccompanied works for violin to keyboard fantasias, solo sonatas, trio sonatas, quartets, and works for orchestra.

We’re going to look at two of Bach’s Christmas Cantatas, BWV 91, “Praised Be You, Jesus Christ,” and BWV 110, “May Our Mouths be filled with Laughter.”

We’ll survey the vocal/choral music of G. P. Telemann.

We'll look at two more of Bach's sonatas for violin with harpsichord obbligato: Sonata No. 5 in F Minor, BWV 1018; and Sonata No. 6 in G Major, BWV 1019.

We'll look at two of Bach's sonatas for violin with harpsichord obbligato: Sonata No. 1 in B Minor, BWV 1014, and Sonata No. 2 in A Major, BWV 1015.

We'll look at two of Bach's Wedding Cantatas: BWV 202 and BWV 195.

We’ll look at two of Bach’s French Suites: No. 1 in D Minor (BWV 812) and No. 5  in G Major (BWV 816).

We'll look at two of Bach's Flute Sonatas: Sonata in E minor, BWV 1034; and Sonata in B minor, BWV 1030.

We’ll look at two of Bach’s early works for keyboard: “Capriccio on the Departure of His Most Beloved Brother,” BWV 992; and the Sonata in D Major, BWV 963.

We'll look at part 2 of Bach's St. John Passion.

We'll look at part 1 of Bach's St. John Passion, BWV 245.

We'll look at Bach's first two unaccompanied cello suites, No. 1 in G Major, BWV 1007, and No. 2 in D Minor, BWV 1008.

We'll look at the last two Orchestral Suites: No. 3 in D Major, BWV 1068; and No. 4 in D Major , BWV 1069.

We'll look at the first two Orchestral Suites: No. 1 in C Major, BWV 1066; and No. 2 in B Minor, BWV 1067.

We'll look at the final three sections of Bach's Christmas Oratorio, BWV 248.

We'll look at the first three sections of Bach's Christmas Oratorio, BWV 248

We'll look at the concluding movements of Bach's B Minor Mass.

We'll take a look at the Kyrie and Gloria sections of Bach's famous B Minor Mass.

We’ll look at our final three Bach concertos: the “Triple Concerto,” in A Minor, BWV 1044; the Harpsichord Concerto  in F Minor, BWV 1056; and the Concerto for Two Harpsichords and Strings in C Major, BWV 1061.

We'll look at the three remaining Brandenburg Concertos, Nos. 4,2 & 5.

We'll look at three of Bach's famous Brandenburg Concertos: Nos. 3, 6 & 1.

We'll look at Bach's three most famous violin concertos: Concerto for Violin and Orchestra in A Minor, BWV 1041; Concerto for Violin and Orchestra in E Major, BWV 1042; and Concerto for Two Violins and Orchestra in D Minor (the "Double" Concerto), BWV 1043.

We'll look at three of Bach's most famous secular cantatas: BWV 208, "What pleases me above all is the lively hunt" (The "Hunt" cantata); BWV 211, "Keep quiet, don't chatter" (The "Coffee" Cantata); BWV 212, "We have a new overseer" (The "Peasant" Cantata).

We'll take a look at some of Bach's sacred cantatas composed in Leipzig, notably BWV 68, "God so loved the world";  BWV 78, "Jesus, by whom my soul";  BWV 80, "A Might Fortress is my God"; BWV 140, "Wake up, the voice calls us" ("Sleepers awake");  and BWV 51, "Shout to Joy for God in every land."

Bach accepts a position at the court of Weimar and composes some of his most colorful cantatas. We’ll take a closer look at three sacred cantatas: BWV 182, "King of heaven, welcome"; BWV 31, "The heavens laugh";  and BWV 63, "Christians, engrave this day."

We begin with a quick overview of Bach’s early years and takes a closer look at some of his earliest scared cantatas, including  BWV 131, "Out of the depths I cry, Lord, to you"; BWV 4, "Christ lay in death's bonds"; and BWV 106, "God's time is the very best time," composed while living in Arnstadt and Muhlhausen.