In Celebration of the Human Voice - The Essential Musical Instrument
Born: 1685 Died: 1750
Born into a musical family, Bach received his earliest instruction from his father. After his father's death in 1695, Bach moved to Ohrdruf, where he lived and studied organ with his older brother Johann Christoph. He also received an education at schools in Eisenach, Ohrdruf, and Luneburg. Bach's first permanent positions were as organist in Arnstadt (1703-1707) and Muhlhausen (1707-1708). During these years, he performed, composed taught, and developed an interest in organ building. From 1708-1717 he was employed by Duke Wilhelm Ernst of Weimar, first as court organist, and after 1714, as concertmaster. During this period, he composed many of his best organ compositions; in his capacity as concertmaster, he was also expected to produce a cantata each month. In Weimar, Bach's style was influenced by his study of numerous Italian compositions (especially Vivaldi concertos).
Bach's next position, as Music Director for the Prince Leopold of Cuthen (1717-1723), involved entirely different activities. Since the court chapel was Calvinist, there was no need for church compositions; Bach probably used the Cuthen organs only for teaching and practice. His new works were primarily for instrumental solo or ensemble, to be used as court entertainment or for instruction. Among the important compositions at Cuthen were the Brandenburg Concertos, the first volume of Das wohltemperirte Clavier (The Well-Tempered Clavier), the "French" and "English" Suites for harpsichord (although the "English" Suites may be from the Weimar period), and most of the sonatas and suites for other instruments. Bach also composed a few cantatas for special occasions (birthdays and New Years).
In 1723, Bach was appointed cantor at the St. Thomas Church and School, and Director of Music for Leipzig, positions which he retained for the rest of his career. His official duties included the reponsibility of overseeing the music in the four principal churches of the city, and organizing other musical events sponsored by the municipal council. For these performances, he used pupils from the St. Thomas School, the city's professional musicians, and university students. Bach divided his singers into four choirs (one for each of the four main churches); he personally conducted the first choir, which sang on alternate Sundays at St. Thomas and St. Nicholas. His usual performing group consisted of around sixteen singers and eighteen instrumentalists, although these numbers could be augmented for special occasions. During his first six years in Leipzig (1723-1729), Bach's most impressive compositions were his sacred cantatas (four yearly cycles), and the St. John and St. Matthew Passions. Bach apparently gave virtuoso organ recitals in Leipzig and on various tours, although he had no official position as organist in Leipzig.
After 1729 Bach no longer concentrated so completely on composing sacred vocal music. For services, he re-used his own substantial repertory of cantatas, and turned increasingly to the music of his contemporaries. In 1729-1737 and 1739-1741, he was director of the Leipzig Collegium Musicum, an organization which had been founded by Telemann in 1704. This group of professional musicians and university students performed weekly concerts (out-of-doors in the summer, and at Zimmerman's coffee-house in the winter). Although no specific programs for these concerts have survived, Bach apparently revived and many of his instrumental compositions from Cuthen, wrote new works (e.g., secular cantatas), and conducted pieces by other composers. During the 1730s, Bach renewed his interest in keyboard compositions, and prepared the first three volumes of his Clavier-Ubung (Keyboard Practice) for publication (1731, 1735, 1739); the fourth volume appeared in 1741-1742. In the 1730s, he also showed considerable interest in the royal court at Dresden, and was named "Hofkomponist" (court-composer") in Dresden in 1736.
During Bach's last decade (the 1740s), he completed or revised several large-scale projects which he had started earlier. The Well-Tempered Clavier, Vol. II; a manuscript collection of chorale preludes (known as the "Leipzig 18", comprising revisions of Weimar pieces), and the B minor Mass. Other new works showed an increased interest in fugal and canonic writing: Musikalische Opfer (Musical Offering); the canonic variations for organ on "Vom Himmel hoch"; and Die Kunst der Fuge ( The Art of Fugue). In the 1740s, Bach made various journeys, most notably to the court of Frederick the Great in 1747. He continued a lively interest in the building of organs, and kept informed about the latest developments in the construction of harpsichords and pianofortes.
Displaying 1-15 of 15 items.
Review: The Bach family was one of hardworking provincial craftsmen, in which the family craft was passed (apparently along with the first name Johann) from one generation to the next-in this case, the craft was music. In 17th century Thuringia, a region of Central Germany and hotbed of Lutheranism, they were many careers in music to choose from, a town, church or court musician, or an instrument maker, and the Bachs were active in all those fields. Johann Sebastian, recognizing the gift of his genealogy, compiled his own family history in 1735 and possessed an archive of works by his forbears, with some pieces copied out in his own hand. England's excellent mixed-voice Clare College Chapel Choir, formed in 1971, performs these 11 rarely-heard gems perfectly: Johann Christoph Bach's (1642-1703) 'Lieber Herr Gott,' 'Es ist nun aus,' 'Der Gerechte, ob er gleich,' 'Ich lasse dich nicht' and 'Furchte dich nicht;' Johann Bach's (1604-1673) 'Unser Leben ist ein Schatten,' Johann Michael Bach's (1648-1694) 'Herr, du lassest mich erfahren' and 'Sie lieber Tag willkommen;' and Johann Ludwig Bach's (1677-1731) 'Unsere Trubsal.' Listening to this wonderful stuff, it's clear that Johann Sebastian's heritage was a highly appreciated, major factor in his own genius.
Songlist: Lieber Herr Gott , Unser Leben ist ein Schatten , Herr, du lassest mich erfahren , Nun hab'ich uberwunden , Es ist nun aus , Der Gerechte, ob er gleich , Ich lasse dich nicht, Furchte dich nicht , Sei lieber Tag willkommen , Unsere Trubsal , Das ist meine Freude
Review: The theme of death and dying was one of the favourite themes of Bach and his contemporaries in their cantatas - that 'musical theology' which was held in such high esteem in deeply Lutheran Northern Germany. Composed between 1723 and 1725, the three cantatas on this record treat the subject from different angles: the expectation of a 'marvellous dawn', the final departure in peace and joy, and the vanity of earthly existence. There is 'no consolation on earth', but only in heaven - what other composer, what other artist succeeded in expressing this consolation with such depth, or with such obviousness as Bach?
Songlist: Liebster Gott, wenn werd ich sterben, Mit Fried und Freud ich fahr dahin, Warum betrubst du dich, mein Herz
Review: In addition to the B-Minor Mass, Bach wrote four other masses. These 'Lutheran' masses are from Bach's time at the Thomasschule in Leipzig. The Pacific Boychoir Academy, the only choir school on America's West Coast, has recorded two of these masses with boy sopranos and altos and an orchestra of Early Music specialists led by Kati Kyme.
Songlist: Kyrie, Gloria, Gratias, Domine Fili, Qui tollis, Cum Sancto Spiritu, Kyrie, Gloria, Gratias, Domine Deus, Quoniam, Cum Sancto Spiritu
Review: Over thirty years ago Ward Swingle and Les Swingle Singers gained international acclaim for their first album Jazz Sebastian Bach on which they classically scatted their way into history. The repertoire at the time was mostly fugues and chorales. In musically returning to their roots the new Swingle singers not only sing the still popular fugues and chorales but explore many more aspects of Bach's writing as befits their expanded horizons after so many years of exploration. So you will find major choral works, a solo violin sonata and orchestral works in addition, not all sung in the original scat style.
Songlist: Ein'Fest Burg, Organ Fugue, The Well-Timpered Clavier, Sleepers Awake, Wachet Auf, Liebster Jesu, Wir Sind Hier, In Dulci Jubilo, Sonata No. 2, Brandenburg Concerto No. 3, Sheep May Safely Graze, Badinerie, The Well-Tempered Clavier, Three-Part Invention, Et Resurrexit, Bist Du Bie Mir, Blute Nur, Du Liebes Herz, Organ Fugue, Air On A G String, Little Organ Fugue, Es Ist Genug, Die Zauberflote: Overture, Symphony No. 40, Ave Verum Corpus, String Quartet In G Major: Finale, Cosi Fan Tutte: Un' Aura Amorosa, Eine Kleine Nachtmusik: Finale, Horn Concerto No. 4: Finale, Don Giovanni: Canzonetta, Cosi Fan Tutte: Terzettino, Gigue , Piano Concerto No. 21: Andante, Requiem: Hostias, Requiem: Quam Olim Abrahae, Alla turca from Piano Sonata in A Major, Piano Sonata In A Major: Alla Turca Fantasia In F Minor and Major
Review: This CD is a real treat for Swingles fans, as well as those just getting turned on to them, the original French Swingle Singers, featuring Ward himself doing all the arrangements and singing with the group! For those who are new to the Swingles, these are classic Bach pieces performed incredibly, unbelievably by voices only, singing in a seamless 'scat-singing' style. Since their first record these 8 singers became, if possible, even more polished and refined in the years that separated the two volumes the Swingles were voted 'Best Vocal Group in the World' several times. These are some of their best-known works: from the Fugue in G Major for organ, to the Concerto in D minor for 2 violins, the Choral from the Cantata BMV 147 to the Prelude in C major. Don't be misled by the names, this is all a cappella, with the exception of almost imperceptible drums. In the liner notes we find fascinating little odds and ends about the 10 pieces and such details as an 'Ave Maria' being slipped into the score here or there. But know that this is marvelously original and inventive music and that the Swingles have remained true to the spirit that Bach instilled in his works, a profoundly human fervor and a joyously optimistic faith. As we know Johan Sebastian would, enjoy!
Songlist: Vivace, Prelude and Fugue No. 10 in E minor, Choral, Gavotte, Prelude and Fugue No. 1 in C major, Fugue in G major, Adagio, Prelude and Fugue No. 3 in C sharp major, Choral, Fugue No. 21 in B flat major
Review: This is it! The original Les Swingle Singers, arranged and conducted by Ward Swingle. Half of this rerelease was from the l963 recording which won a Grammy for 'Best Performance by a Chorus.' The first Jazz Sebastian Bach was a 1968 album called Bach's Greatest Hits here in the US where Les Swingles won a Grammy in the category 'Best New Artist.' You'll find over sixty-five minutes of jazz/Bach sung with only the bass and drum (mostly snare) to accentuate rhythm. They became world renown because scat is an understandable language everywhere in it. None of Bach's work has been changed, not a note added or taken away! This is not improvisation (though two pieces were transposed to accommodate vocal range).
Songlist: Fugue En Re Minuer, Prelude Pour Choral D'Orgue No. 1, Aria, Prelude En Fa Majeur, Bourree, Fugue En Do Minuer Fugue En Re Majeur, Prelude No. 9, Sinfonia, Prelude En Do Majeur, Canon, Invention en Do Majeur, Fugue En Re Majeur, Vivace, Prelude Et Fugue En Mi Mineur, Choral De La Cantate, Gavotte, Prelude Et Fugue En Do Majeur, Fugue En Sol Majeur, Adagio, Prelude Et Fugue En Do Diese Majeu, Prelude Du Choral D'Orgue, Fugue No.21 Du Prelude Et Fugue En Si Bemol Majeur BWV 866
Review: The Motet is the oldest compositional genre in European polyphonic art music. Its history can be followed without interruption from the 12th century to the present day. The form was regular part of liturgical services in the two principle churches of Leipzig where JS Bach was employed from 1723 until his death in 1750. Scholars are divided as to the purpose of the six Motets. Though most of them were thought to be funeral music, they cover a lot of ground in terms of creativity, originality, choral and vocal techniques. Marcus Creed and the Vocalconsort Berlin offer small scale, intimate readings of these evergreen masterpieces.
Songlist: Singet dem Herrn ein neues Lied, Der Geist hilft unser Schwachheit auf, Jesu, meine Freude, Furchte dich nicht, ich bin bei dir, Komm, Jesu, komm!, Lobet den Herrn, alle Heiden, Ich lasse dich nicht
Review: Voces8 return to disc with this new recording of J.S.Bach's Motets, BWV 225-230. Joined by the Senesino Players, this young group prove their versatility and skill in performing some of Bach's most challenging and engaging compositions. This disc follows their a cappella debut disc with Signum earlier this year, Aces High (SIGCD187) - themed around some stunning jazz arrangements and songs from the James Bond films: 'The slickest of the lot ... two parts King's Singers, three parts Swingle Singers, a dash of Bobby McFerrin and California sunshine ... fans of a cappella ought to hear this, not just for the singing but the production values and Jim Clements audacious arrangements' Andrew McGreggor, CD Review, BBC Radio 3
Songlist: Singet dem Herrn ein neues Lied, Fuchte dich nicht, ich bin bei dir, Lobet den Herrn, alle Heiden, Jesu, meine Freude, Komm, Jesu, komm, Der Geist hilft unser Schwachheit auf
Review: A stunning new jazz arrangement by Bill Dobbins of J.S. Bach's Christmas Oratorio, performed by Grammy-award-winning ensembles The King's Singers and the WDR (West German Radio, Cologne) Big Band. Recorded live in concert last year, this performance captures the timeless and versatile nature of Bach's work, retaining the integrity of the original within a wholly new musical setting. Dobbins's aims in creating the arrangement were four-fold: to convey the Christmas story of the original; to illustrate the musical diversityand imagination of the entire work through selected representative numbers from the original six cantatas;to translate the musical content and dramatic character of the original into jazz and latin idioms while retaining the spirit of Bach's music; and to showcase the talents of the ensembles.
Songlist: Erster Teil, Zewiter Teil, Dritter Teil, Vierter Teil, Funffer Teil, Sechster Teil
Review: Winner of the 1960 Grammy Award for Best Choral Recording this release was the first of the Bach masterpiece and is still considered a definitive recording. This double CD is a true delight.
Songlist: Disc 1: Missa - Credo, Disc 2: Sanctus
Review: For the conductor Peter Dijkstra, 'these works are among Bach's greatest compositions for vocal ensemble. The rhetorical power of Komm, Jesu, komm, the thrilling double-choir passages in Singet dem Herrn ein Neues Lied, the musical signature B-A-C-H at the end of Frchte dich nicht, every one of these demonstrates Bach's mastery and his ability to bring a text to vivid life.' This analysis of the relationship between text and music is of great importance to Dijkstra, who leads The Netherlands Chamber Choir in thrilling new performances of the six Motets
Songlist: Komm, Jesu, Komm BWV 229(1730), Der Geist Hilft Unser Schwachheit auf BWV 226 (1729), Lobet Den Herrn, Alle Heiden BWV 230, Jesu, Meine Freude BWV 227 (1723): Jesu, Mein Freude, Jesu, Meine Freude BWV 227 (1723): Unter Deinem Schirmen, Jesu, Meine Freude BWV 227 (1723): Trotz Dem Alten Drachen, Jesu, Meine Freude BWV 227 (1723): Weg Mit Allen Schatzen, Jesu, Meine Freude BWV 227 (1723): Gute Nacht, Jesu, Meine Freude BWV 227 (1723): Weicht, Ihr Trauer Geister, Furchte Dich Nicht BWV 228 (1726), Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Singet Dem Herrn Ein Neus Lied, Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Wie Sich ein Vater Erbarmet, Singet Dem Herrn Ein Neus Lied BWV 225 (1727): Lobet Den Hernn
Review: J.S. Bach Ð A Listener's Guide to His Choral Music introduces the general listener to a genre of music that is mistakenly supposed to be 'difficult.' A vivid biographical sketch of Bach's life and times provides the necessary background. The book then takes on the question 'What is a cantata?' and guides the listener systematically through fugue, recitative, and aria. The author chooses 30 of Bach's 200 church cantatas that are especially likely to be performed live, and explores them in detail. Studies of the two great oratorios, the 'St John Passion' and the 'St. Matthew Passion,' follow, together with a detailed analysis of what Bach himself probably thought to be his finest work, the 'Mass in B Minor.' The book is accompanied by a 75-minute CD featuring complete tracks from five of the finest cantatas, as well as several tracks from the two Passions, the Mass, and 'Magnifcat.'
Review: John Leavitt has selected and edited 31 Bach chorales for choirs to sight-read and perform. Each chorale includes English and German texts along with historical background and pedagogical suggestions to help your singers build skills and develop musical literacy. This collection of accessible masterworks is a great tool for school, church and community groups!
Songlist: A Mighty Forest Is Our God, Ah! Dearest Jesus, Holy Child, Alas, Dear Lord, All Darkness Flies Before Thy Face, Alleluia, Alleluia, Alleluia!, Awake Us Lord We Pray To Thee, Beside Thy Cradle Here I Stand, Break Forth O Beauteous Heavenly Light Eternity Tremndous Word, From Depths Of Woe I Cry To Thee , From Saba Came The Kings From Afar, How Shall I Fitly Meet Thee, Jesus Bread Of Life From Heaven, Jesu, Joy Of Man's Desiring, Jesus Priceless Treasure, Lord Jesu Blessed Prince Of Peace, Now Thank We All Our God, O Sacred Head Now Wounded, Praise To God, Preserve Thy Faith From Error Free, Rejoice And Sing, The Day Hath Dawned the Day of Days, The Lord Hath Dawned All These Wonders Wrought, The Sorrow Thou Art Bearing, The Will Of God Be Always Done, Thee With Tender Care I'll Cherish, Then Let Us Feast, This Proud Heart Within Us Swelling, Today He Opens Us The Door, What God Does Ever Well Is Done, Within Yon Gloomy Manger Lies
Review: 'Gigue (Suite in C Major)' is a movement from one of Bach's unaccompanied Cello sonatas, arranged here for tenor and bass. It has a fast 3/4 jazz feeling, with some tricky dove-tailing between the voices, the object being to make it sound like on instrument. The Swingle Singers have often used this 'Organ Fugue BMV 578' as a concert opener. The challenge in singing without a rhythm section is to make the piece swing without the help of the instruments.The 'Bourree' has probably been the most widely performed of all Ward Swingle arrangements. This is an a cappella version using three different styles: child-like 'la-la-la's,' gently swinging 'oo' sounds and rather brassy 'ah' sounds.
Songlist: Organ Fugue, Bourree, Gigue, Gavotte
Review: These various Bach tunes are some of the finest of Ward Swingle's arrangements. The rich flowing harmonies, and clever voice leading provide a nice challenge for an intermediate jazz choir. A must have in your Ward Swingle Collection!
Songlist: Fugue in D Minor (Art of the Fugue), Aria Suite in D Major, Largo, Prelude No. 22
Displaying 1-50 of 292 items.
|Song Name||Arranger||Composer||Artist||Recording Title||Format|
|Gloria, Dei Sir Gesungen||Johann Sebastian Bach||David Hill (Editor)||Noel 2 - Carols and Anthems for Advent, Christmas and Epiphany||Songbook||MORE DETAILS|
|God's Word is Our Great Heritage||Johann Sebastian Bach||St. Olaf Choir||Rejoice, Give Thanks, and Sing||2 CDs||MORE DETAILS|
|God's Word is Our Great Heritage||Johann Sebastian Bach||St. Olaf Choir||Rejoice, Give Thanks, and Sing||DVD||MORE DETAILS|
|O Jesulein||Johann Sebastian Bach||David Hill (Editor)||Noel 2 - Carols and Anthems for Advent, Christmas and Epiphany||Songbook||MORE DETAILS|
|"Magnificat anima mea" from Magnificat||Johann Sebastian Bach||Robert Shaw||Great Choral Classics||1 CD||MORE DETAILS|
|"Osanna in excelsis" from Mass in B Minor||Johann Sebastian Bach||Robert Shaw||Great Choral Classics||1 CD||MORE DETAILS|
|"Pie Jesu" from Requiem||Johann Sebastian Bach||Sixteen||Sounds Sublime - The Essential Collection||2 CDs||MORE DETAILS|
|A Child Is Born in Bethlehem||Johann Sebastian Bach||Paul R. Ladd, Jr.||A Choir Book for Christmas||Book||MORE DETAILS|
|A Hymn to Saint Columba||Johann Sebastian Bach||Sixteen||Sounds Sublime - The Essential Collection||2 CDs||MORE DETAILS|
|A Mighty Fortress||Johann Sebastian Bach||Mormon Tabernacle Choir||Favourite Uplifting Hymns||1 CD||MORE DETAILS|
|Adagio||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastian Bach Vol II||1 CD||MORE DETAILS|
|Adagio||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastien Bach||1 CD||MORE DETAILS|
|Ah! Dearest Jesu, Holy Child||Johann Sebastian Bach||David Willcocks (editor)||Carols for Choirs Vol 3||Songbook||MORE DETAILS|
|Allegro||Johann Sebastian Bach||Swingle Singers||The Joy of Singing||1 CD||MORE DETAILS|
|Alleluia||Johann Sebastian Bach||Toronto Children's Chorus||A Ceremony of Carols||1 CD||MORE DETAILS|
|And There Were Sheperds||David Willcocks||Johann Sebastian Bach||John Rutter / David Willcocks||Carols for Choirs||Songbook||MORE DETAILS|
|And There Were Shepherds||Christmas Oratorio||Johann Sebastian Bach||Robert Shaw - The Atlanta Chorus||Christmas with Robert Shaw||1 CD||MORE DETAILS|
|Aria||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastien Bach||1 CD||MORE DETAILS|
|Aria||M. Edwards||Johann Sebastian Bach||Amabile Boys Choir||New Horizons||1 CD||MORE DETAILS|
|Aria||John Lewis and Ward Swingle||Johann Sebastian Bach||Swingle Singers with The Modern Jazz Quartet||Place Vendome||1 CD||MORE DETAILS|
|Aria Suite in D Major||Ward Swingle||Johann Sebastian Bach||Ward Swingle||Johann Sebastian Bach Vol II||Sheet Music||MORE DETAILS|
|Arie "Großer Herr, o starker Koig"||Johann Sebastian Bach||SWR Stuttgart Vocal Ensemble||Four Centuries of Christmas Music||1 CD||MORE DETAILS|
|Ave Maria||Johann Sebastian Bach||Toronto Children's Chorus||Adeste Fideles||1 CD||MORE DETAILS|
|Ave Maria||Johann Sebastian Bach||Moscow Boys Choir||Christmas Around The World||1 CD||MORE DETAILS|
|Ave Maria||Johann Sebastian Bach||Patrick M. Liebergen||Favorite Wedding Classics for Solo Singers - High||Solo Songbook||MORE DETAILS|
|Ave Maria||Johann Sebastian Bach||Patrick M. Liebergen||Favorite Wedding Classics for Solo Singers - Low||Solo Songbook & CD||MORE DETAILS|
|Ave Maria||Johann Sebastian Bach||Moscow Boys Choir||Moscow Boys Choir||1 CD||MORE DETAILS|
|Baroque Music - No. 12 Ich dank' dir schon durch deinen Sohn||Johann Sebastian Bach||David P. DeVenney||Conducting Choirs Vol 2 - Music For Classroom Use||Book & 1 CD||MORE DETAILS|
|Baroque Music - No. 13 O Haupt voll Blut un Wunden||Johann Sebastian Bach||David P. DeVenney||Conducting Choirs Vol 2 - Music For Classroom Use||Book & 1 CD||MORE DETAILS|
|Baroque Music - No. 17 Nach dir, Herr, verlanget mich (BWV 150)||Johann Sebastian Bach||David P. DeVenney||Conducting Choirs Vol 2 - Music For Classroom Use||Book & 1 CD||MORE DETAILS|
|Bist Du Bei Mir||Johann Sebastian Bach||St. Louis Children's Choir||25th Anniversary Celebration||2 CDs||MORE DETAILS|
|Bist du bei mir||Jean Ashworth Bartle||Johann Sebastian Bach||Shenandoah Valley Children's Choir||All Things Bright and Beautiful||1 CD||MORE DETAILS|
|Bist Du Bei Mir||Johann Sebastian Bach||Ragazzi Boys Chorus||Magnificat - My Spirit Rejoices||1 CD||MORE DETAILS|
|Bist du bei mir||Johann Sebastian Bach||Children's Chorus of Washington||Treble Chorus 2006 - 2007||1 CD||MORE DETAILS|
|Bist du Bei Mir||Johann Sebastian Bach||The Vocal Library||Wedding Classics - High Voice||Solo Songbook & CD||MORE DETAILS|
|Bist du Bei Mir||Johann Sebastian Bach||The Vocal Library||Wedding Classics - Low Voice||Solo Songbook & CD||MORE DETAILS|
|Bouree for Bash||Johann Sebastian Bach||Lawrence Children's Choir||In Concert; Celebrating 10 Years of Song||1 CD||MORE DETAILS|
|Bourree||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastien Bach||1 CD||MORE DETAILS|
|Bourree||Ward Swingle||Johann Sebastian Bach||Ward Swingle||Johann Sebastian Bach Vol 1||Sheet Music||MORE DETAILS|
|Break Forth||Christmas Oratorio||Johann Sebastian Bach||Robert Shaw - The Atlanta Chorus||Christmas with Robert Shaw||1 CD||MORE DETAILS|
|Break forth, O beauteous, heavenly light (from the Christmas Oratorio)||Johann Sebastian Bach||Luther College Nordic Choir||Unto Us A Child Is Born||1 CD||MORE DETAILS|
|Break Forth, O Wondrous Heavenly Light, from "Christmas Oratorio"||Alice Parker / Robert Shaw||Johann Sebastian Bach||Robert Shaw Chamber Singers||Angels On High||1 CD||MORE DETAILS|
|Canon||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastien Bach||1 CD||MORE DETAILS|
|Cantata BWV 150 (JS Bach 1685-1750):||Johann Sebastian Bach||Pacific Boychoir||Cantate||1 CD||MORE DETAILS|
|Cantata BWV 170||Johann Sebastian Bach||Various Artists||Countertenors||DVD||MORE DETAILS|
|Cantata No. 142||Johann Sebastian Bach||Toronto Children's Chorus||A Ceremony of Carols||1 CD||MORE DETAILS|
|Choral||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastian Bach Vol II||1 CD||MORE DETAILS|
|Choral||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastian Bach Vol II||1 CD||MORE DETAILS|
|Choral De La Cantate||Ward Swingle||Johann Sebastian Bach||Swingle Singers||Jazz Sebastien Bach||1 CD||MORE DETAILS|
|Chorale Settings||John Leavitt||Johann Sebastian Bach||John Leavitt||The Choral Singer||Songbook||MORE DETAILS|