| 曲名 |
BPM |
| Transcribed in the Light of Harpsichord Technique (Bach's "Chromatic Fantasy & Fugue"), for piano: i. Chromatic Fantasia (BWV903) |
69.4 |
| Transcribed in the Light of Harpsichord Technique (Bach's "Chromatic Fantasy & Fugue"), for piano: ii. Fugue (BWV948) |
103.2 |
| Italian Concerto, BWV971: i. Allegro |
95.3 |
| Italian Concerto, BWV971: ii. Andante |
127.2 |
| Italian Concerto, BWV971: iii. Presto |
108.8 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: i. Arioso (Adagio): Ist eine Schmeichelung der Freunde, um denselben von seiner Reise abzuhalten (His friends try to persuade him not to undertake the journey) |
74.8 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: ii. Andante: Ist eine Vorstellung unterschiedlicher Casuum, die ihm in der Fremde konnten vorfallen (They tell him of the various misfortunes that may befall him abroad) |
70.4 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: iii. Adagiosissimo: Ist ein allgemeines Lamento der Freunde (The general lament of his friends) |
66.2 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: iv. Allhier kommen die Freunde (weil sie doch sehen, daß es sanders nicht sein kann) und nehmen Abschied (His friends come, since they see that it must be) |
118.6 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: v. Allegro poco: Aria di Postiglione |
98.4 |
| Capriccio on the Departing of his Most Beloved Brother in B-flat Major, BWV992: vi. Fuga all' imitatione della cornetta di Postiglione |
107.0 |
| Sonatina, from Cantata No. 106 "Gottes Zeit ist die allerbeste Zeit (Trinity), BWV106," arr. Friskin |
123.0 |
| Toccata in C Minor, BWV911 |
167.2 |
| French Suite No. 3 in B Minor BWV814: i. Allemande |
145.8 |
| French Suite No. 3 in B Minor BWV814: ii. Courante |
91.2 |
| French Suite No. 3 in B Minor BWV814: iii. Sarabande |
118.8 |
| French Suite No. 3 in B Minor BWV814: iv. Menuet and Trio |
100.2 |
| French Suite No. 3 in B Minor BWV814: v. Gavotte |
168.1 |
| French Suite No. 3 in B Minor BWV814: vi. Gigue |
97.9 |
| French Suite No. 4 in E-flat Major, BWV815: i. Allemande |
134.5 |
| French Suite No. 4 in E-flat Major, BWV815: ii. Courante |
100.6 |
| French Suite No. 4 in E-flat Major, BWV815: iii. Sarabande |
130.9 |
| French Suite No. 4 in E-flat Major, BWV815: iv. Gavotte |
86.8 |
| French Suite No. 4 in E-flat Major, BWV815: v. Air |
168.4 |
| French Suite No. 4 in E-flat Major, BWV815: vi. Menuet |
112.3 |
| French Suite No. 4 in E-flat Major, BWV815: vii. Gigue |
154.6 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: i. Chorus: Wachet auf, ruft uns die Stimme |
85.9 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: ii. Recitative (Tenor): Er kommt, er kommt, der Bräutigam kommt |
42.5 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: iii. Duet (Soprano, Bass): Wenn kömmst du, mein Heil |
64.6 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: iv. Chorus: Zion hört die Wächter singen ('Sleeper's Awake') |
65.1 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: v. Recitative (Bass): So geh herein zu mir |
131.9 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: vi. Duet (Soprano, Bass): Mein Freund ist mein! |
78.5 |
| Cantata No.140: Wachet auf, ruft uns die Stimme (27th Sunday after Trinity), BWV140: vii. Chorale: Gloria sei dir gesungen |
180.1 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: i. Sinfonia in E Minor; Chorus: Christ lag in Todesbanden |
75.3 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: ii. Duet (Soprano, Alto): Den Tod niemand zwingen kunnt |
84.6 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: iii. Aria (Tenor): Jesus Christus, Gottes Sohn |
90.1 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: iv. Chorus: Es war ein wunderlicher Krieg |
70.8 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: v. Aria (Bass): Hier ist das rechte Osterlamm |
78.9 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: vi. Duet (Soprano, Tenor): So feiern wir das hohe Fest |
67.9 |
| Cantata No.4: Christ lag in Todesbanden (Easter Sunday), BWV4: vii. Chorus: Wir essen und leben wohl |
175.5 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: i. Chorale: Das neugeborne Kindelein |
140.4 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: ii. Aria (Bass): O Menschen, die ihr täglich sündigt |
151.7 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: iii. Recitative and Chorale (Soprano): Die Engel, welche sich zuvor |
69.6 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: 044 iv. Chorale (Alto) and Duet (Soprano, Tenor): Ist Gott versöhnt |
134.3 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: v. Recitative (Bass): Dies ist ein Tag, den selbst der Herr gemacht |
76.8 |
| Cantata No. 122: Das neugebor'ne Kindelein (1st Sunday after Christmas), BWV122: vi. Chorale: Es bringt das rechte Jubeljahr |
78.7 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: i. Chorale: Ich freue mich in dir |
94.4 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: ii. Aria (Alto): Getrost! es faßt ein heilger Leib |
143.0 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: iii. Recitativo (Tenor): Ein Adam mag sich voller Schrecken |
97.1 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: iv. Aria (Soprano): Wie lieblich klingt es in den Ohren |
124.4 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: v. Recitative (Bass): Wohlan, des Todes Furcht und Schmerz |
91.9 |
| Cantata No.133: Ich freue mich in dir (3rd Day of Christmas), BWV133: vi. Chorale: Wohlan, so will ich mich |
66.7 |
| Magnificat in D, BWV243: i. Coro: Magnificat anima mea |
88.1 |
| Magnificat in D, BWV243: ii. Aria: Et exsultavit spiritus meus |
116.3 |
| Magnificat in D, BWV243: iii. Aria: Quia respexit humilitatem |
65.1 |
| Magnificat in D, BWV243: iv. Coro: Omnes generationes |
80.9 |
| Magnificat in D, BWV243: v. Aria: Quia fecit mihi magna |
62.0 |
| Magnificat in D, BWV243: vi. Duetto: Et misericordia |
82.3 |
| Magnificat in D, BWV243: vii. Coro: Fecit potentiam |
86.2 |
| Magnificat in D, BWV243: viii. Aria: Deposuit potentes |
87.7 |
| Magnificat in D, BWV243: ix. Aria: Esurientes implevit bonis |
125.0 |
| Magnificat in D, BWV243: x. Terzetto: Suscepit Israel |
86.0 |
| Magnificat in D, BWV243: xi. Coro: Sicut locutus est |
164.6 |
| Magnificat in D, BWV243: xii. Coro: Gloria Patri |
89.7 |
| Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: i. Adagio |
79.2 |
| Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: ii. Allegro |
87.6 |
| Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: iii. Andante |
126.1 |
| Sonata No. 1 in B Minor for Violin and Harpsichord, BWV 1014: iv. Allegro |
108.5 |
| Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: i. Adagio |
69.3 |
| Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: ii. Allegro assai |
120.4 |
| Sonata No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: iii. Andante un poco |
116.0 |
| No. 2 in A Major for Violin and Harpsichord Sonata, BWV 1015: iv. Presto |
98.3 |
| Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: i. Adagio |
85.4 |
| Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: ii. Allegro |
92.7 |
| Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: iii. Adagio ma non tanto |
72.6 |
| Sonata No. 3 in E Major for Violin and Harpsichord, BWV 1016: iv. Allegro |
128.5 |
| Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: i. Siciliano |
59.8 |
| Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: ii. Allegro |
97.3 |
| Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: iii. Adagio |
118.0 |
| Sonata No. 4 in C Minor for Violin and Harpsichord, BWV 1017: iv. Allegro |
108.2 |
| Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: i. Largo |
93.0 |
| Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: ii. Allegro |
102.6 |
| Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: iii. Adagio |
77.7 |
| Sonata No. 5 in F Minor for Violin and Harpsichord, BWV 1018: iv. Vivace |
109.1 |
| Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: i. Allegro |
99.5 |
| Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: ii. Largo |
125.7 |
| Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: iii. Allegro |
99.8 |
| Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: iv. Adagio |
85.1 |
| Sonata No. 6 in G Major for Violin and Harpsichord, BWV 1019: v. Allegro |
122.7 |
| Passion According to St. Matthew, BWV 244: 1. Chorus: Kommt, ihr Töchter, helft mir klagen |
71.1 |
| Passion According to St. Matthew, BWV 244: 2. Recitative (Evangelist, Jesus): Da Jesus diese Rede vollendet hatte |
134.8 |
| Passion According to St. Matthew, BWV 244: 3. Chorale: Herzliebster Jesu, was hast du verbrochen |
96.8 |
| Passion According to St. Matthew, BWV 244: 4. Recitative (Evangelist): Da versammelten sich die Hohenpriester |
103.6 |
| Passion According to St. Matthew, BWV 244: 5. Chorus: Ja nicht auf das Fest |
84.5 |
| Passion According to St. Matthew, BWV 244: 6. Recitative (Evangelist): Da nun Jesus war zu Bethanien |
119.3 |
| Passion According to St. Matthew, BWV 244: 7. Chorus: Wozu dienet dieser Unrath |
170.2 |
| Passion According to St. Matthew, BWV 244: 8. Recitative (Evangelist): Da das Jesus merkete |
78.6 |
| Passion According to St. Matthew, BWV 244: 9. Recitative (Alto): Du lieber Heiland du |
169.3 |
| Passion According to St. Matthew, BWV 244: 10. Aria (Alto): Buß und Reu |
64.2 |
| Passion According to St. Matthew, BWV 244: 11. Recitative (Evangelist, Judas): Da ging hin der Zwölfen einer |
149.1 |
| Passion According to St. Matthew, BWV 244: 12. Aria (Soprano): Blute nur, du liebes Herz |
130.8 |
| Passion According to St. Matthew, BWV 244: 13. Recitative (Evangelist): Aber am ersten Tage der süßen Brot |
0.0 |
| Passion According to St. Matthew, BWV 244: 14. Chorus: Wo willst du, daß wir dir bere |
92.7 |
| Passion According to St. Matthew, BWV 244: 15. Recitative (Evangelist, Jesus): Er sprach: Gehet hin in die Stadt |
99.4 |
| Passion According to St. Matthew, BWV 244: 16. Chorus: Herr, bin ich's?/ Chorale: Ich bin's, ich sollte büßfen |
71.8 |
| Passion According to St. Matthew, BWV 244: 17. Recitative (Evangelist, Jesus, Judas): Er antwortete und sprach: Der mit der Hand mit mir |
167.6 |
| Passion According to St. Matthew, BWV 244: 18. Recitative (Soprano): Wiewohl mein Herz in Tränen schwimmt |
129.1 |
| Passion According to St. Matthew, BWV 244: 19. Aria (Soprano): Ich will dir mein Herze schenken |
107.0 |
| Passion According to St. Matthew, BWV 244: 20. Recitative (Evangelist, Jesus): Und da sie den Lobgesang gesprochen hatten |
81.3 |
| Passion According to St. Matthew, BWV 244: 21. Chorale: Erkenne mich, mein Hüter |
59.0 |
| Passion According to St. Matthew, BWV 244: 22. Recitative (Evangelist, Peter, Jesus): Petrus aber antwortete und sprach zu ihm |
74.4 |
| Passion According to St. Matthew, BWV 244: 23. Chorale: Ich will hier bei dir stehen |
114.8 |
| Passion According to St. Matthew, BWV 244: 24. Recitative: Da kam Jesus mit ihnen zu einem Hofe |
170.4 |
| Passion According to St. Matthew, BWV 244: 25. Recitative (Tenor, Chorus): O Schmerz! Hier zittert das gequälte Herz |
79.2 |
| Passion According to St. Matthew, BWV 244: 26. Aria (Tenor, Chorus): Ich will bei meinem Jesu wachen |
126.5 |
| Passion According to St. Matthew, BWV 244: 27. Recitative (Evangelist, Jesus): Und ging hin ein wenig |
70.7 |
| Passion According to St. Matthew, BWV 244: 28. Recitative (Bass): Der Heiland fällt vor seinem Vater nieder |
93.3 |
| Passion According to St. Matthew, BWV 244: 29. Aria (Bass): Gerne will ich mich bequemen |
93.1 |
| Passion According to St. Matthew, BWV 244: 30. Recitative (Evangelist, Jesus): Und er kam zu seinen Jüngern |
85.4 |
| Passion According to St. Matthew, BWV 244: 31. Chorale: Was mein Gott will, das g'scheh allzeit |
106.4 |
| Passion According to St. Matthew, BWV 244: 32. Recitative (Evangelist, Jesus, Judas): Und er kam und fand sie aber schlafend |
89.1 |
| Passion According to St. Matthew, BWV 244: 33. Duet (Soprano, Alto, with Chorus): So ist mein Jesus nun gefangen / Chorus: Sind Blitze, sind Donner in Wolken verschwunden? |
84.0 |
| Passion According to St. Matthew, BWV 244: 34. Recitative (Evangelist, Jesus): Und siehe, einer aus denen, die mit Jesu waren |
80.0 |
| Passion According to St. Matthew, BWV 244: 35. Chorale: O Mensch, bewein dein Sünde groß |
85.7 |
| Passion According to St. Matthew, BWV 244: 36. Aria (Alto) and Chorus: Ach! nun ist mein Jesus hin |
77.1 |
| Passion According to St. Matthew, BWV 244: 37. Recitative (Evangelist): Die aber Jesum gegriffen hatten |
124.7 |
| Passion According to St. Matthew, BWV 244: 38. Chorale: Mir hat die Welt trüglich gerricht' |
134.4 |
| Passion According to St. Matthew, BWV 244: 39. Recitative (Evangelist, Witnesses, High Priest): Und wiewohl viel falsche Zeugen herzutraten |
130.8 |
| Passion According to St. Matthew, BWV 244: 40. Recitative (Tenor): Mein Jesus schweigt zu falschen Lügen stille |
88.7 |
| Passion According to St. Matthew, BWV 244: 41. Aria (Tenor): Geduld! Wenn mich falsche Zungen stechen! |
90.7 |
| Passion According to St. Matthew, BWV 244: 42 Recitative (Evangelist, High Priest, Jesus): Und der Hohepriester antwortete / Chorus: Er ist des Todes schuldig |
84.6 |
| Passion According to St. Matthew, BWV 244: 43. Recitative (Evangelist): Da speieten sie aus / Chorus: Weissage uns, Christe |
81.8 |
| Passion According to St. Matthew, BWV 244: 44. Chorale: Wer hat dich so geschlagen |
130.1 |
| Passion According to St. Matthew, BWV 244: 45. Recitative (Evangelist, Mary Magdalene, Peter): Petrus aber saß draußen im Palast / Chorus: Wahrlich, du bist auch einer von denen |
105.8 |
| Passion According to St. Matthew, BWV 244: 46. Recitative (Tenor, Bass): Da hub er an, sich zu verfluchen |
77.2 |
| Passion According to St. Matthew, BWV 244: 47. Aria (Alto): Erbarme dich, mein Gott |
83.3 |
| Passion According to St. Matthew, BWV 244: 48. Chorale: Bin ich gleich von der gewichen |
180.2 |
| Passion According to St. Matthew, BWV 244: 49. Recitative (Evangelist, Judas): Des Morgens aber hielten alle Hohepriester / Chorus: Was gehet uns das an / Chorus: Was gehet uns das an |
86.0 |
| Passion According to St. Matthew, BWV 244: 50. Recitative (Evangelist, High Priests): Und er warf die Silberlinge in den Tempel |
109.5 |
| Passion According to St. Matthew, BWV 244: 51. Aria (Bass): Gebt mir meinen Jesum wieder |
138.8 |
| Passion According to St. Matthew, BWV 244: 52. Recitative (Evangelist, Pilate, Jesus): Sie hielten aber einen Rat |
0.0 |
| Passion According to St. Matthew, BWV 244: 53. Chorale: Befiehl du deine Wege |
170.1 |
| Passion According to St. Matthew, BWV 244: 54. Recitative (Evangelist, Pilate, Pilate's Wife): Auf das Fest aber hatte der Landpfleger Gewohnheit / Chorus: Laß ihn kreuzigen! |
85.5 |
| Passion According to St. Matthew, BWV 244: 55. Chorale: Wie wunderbarlich ist doch diese Strafe! |
168.4 |
| Passion According to St. Matthew, BWV 244: 56. Recitative (Evangelist, Pilate): Der Landpfleger sagte |
81.7 |
| Passion According to St. Matthew, BWV 244: 57. Recitative (Soprano): Er hat uns allen wohlgetan |
66.9 |
| Passion According to St. Matthew, BWV 244: 58. Aria (Soprano): Aus Liebe will mein Heiland sterben |
82.1 |
| Passion According to St. Matthew, BWV 244: 59. Recitative: Sie schrieen aber noch mehr / Chorus: Laß ihn kreuzigen / Recitative: Da aber Pilatus sahe / Chorus: Sein Blut komme über uns / Recitative: Da gab er ihnen Barrabam los |
81.8 |
| Passion According to St. Matthew, BWV 244: 60. Recitative (Alto): Erbarm es Gott! |
170.3 |
| Passion According to St. Matthew, BWV 244: 61. Aria (Alto): Können Tränen meiner Wangen |
135.3 |
| Passion According to St. Matthew, BWV 244: 62. Recitative (Evangelist): Da nahmen die Kriegsknechte; Chorus: Gegrüßet seist du, Judenkönig |
103.5 |
| Passion According to St. Matthew, BWV 244: 63. Chorale: O Haupt voll Blut und Wunden |
94.8 |
| Passion According to St. Matthew, BWV 244: 64. Recitative (Evangelist): Und da sie ihn verspottet hatten |
94.3 |
| Passion According to St. Matthew, BWV 244: 65. Recitative (Bass): Ja freilich will in uns das Fleisch und Blut |
83.2 |
| Passion According to St. Matthew, BWV 244: 66. Aria (Bass): Komm, süßes Kreuz, so will ich sagen |
130.1 |
| Passion According to St. Matthew, BWV 244: 67. Recitative (Evangelist): Und da sie an die Stätte kamen; / Chorus: Der du den Tempel Gottes zerbrichst |
173.3 |
| Passion According to St. Matthew, BWV 244: 68. Recitative (Evangelist): Desgleichen schmäheten ihn auch die Mörder / Chorus: Andern hat er geholfen |
163.2 |
| Passion According to St. Matthew, BWV 244: 69. Recitative (Alto): Ach Golgatha, unselges Golgatha! |
174.1 |
| Passion According to St. Matthew, BWV 244: 70. Aria (Alto) and Chorus: Sehet, Jesus hat die Hand |
63.1 |
| Passion According to St. Matthew, BWV 244: 71. Recitative: Und von der sechsten Stunde an / Chorus: Der rufet dem Elias / Recitative: Und bald lief einer unter ihnen / Chorus: Halt, laß sehen / Recitative: Aber, Jesus schriee |
88.0 |
| Passion According to St. Matthew, BWV 244: 72. Chorale: Wenn ich einmal soll scheiden |
115.0 |
| Passion According to St. Matthew, BWV 244: 73. Recitative (Evangelist): Und siehe da, der Vorhang im Tempel zerriß / Chorus: Wahrlich, dieser ist Gottes Sohn gewesen / Recitative (Evangelist): Und es waren viel Weiber da |
109.1 |
| Passion According to St. Matthew, BWV 244: 74. Recitative (Bass): Am Abend, da es kühle war |
85.1 |
| Passion According to St. Matthew, BWV 244: 75. Aria (Bass): Mache dich, mein Herze, rein |
79.2 |
| Passion According to St. Matthew, BWV 244: 76. Recitative (Evangelist): Und Joseph nahm den Leib / Chorus: Herr, wir haben gedacht / Recitative: Pilatus sprach zu ihnen |
167.0 |
| Passion According to St. Matthew, BWV 244: 77. Recitative (Bass, Tenor, Alto, Soprano, Chorus): Nun ist der Herr zur Ruh gebracht |
135.9 |
| Passion According to St. Matthew, BWV 244: 78. Chorus: Wir setzen uns mit Tränen nieder |
108.8 |
| Sonata in A Major for Flute and Harpsichord, BWV 1032: i. Vivace |
91.2 |
| Sonata in A Major for Flute and Harpsichord, BWV 1032: ii. Largo e dolce |
68.9 |
| Sonata in A Major for Flute and Harpsichord, BWV 1032: iii. Allegro |
99.8 |
| Sonata in A Major for Flute and Harpsichord, BWV 1020: i. [Allegro] |
64.8 |
| Sonata in A Major for Flute and Harpsichord, BWV 1020: ii. Adagio |
93.9 |
| Sonata in A Major for Flute and Harpsichord, BWV 1020: iii. Allegro |
88.8 |
| Partita in A Minor for Solo Flute, BWV 1013: i. Allemande |
85.5 |
| Partita in A Minor for Solo Flute, BWV 1013: ii. Corrente |
114.0 |
| Partita in A Minor for Solo Flute, BWV 1013: iii. Sarabande |
86.3 |
| Partita in A Minor for Solo Flute, BWV 1013: iv. Bourree Anglaise |
114.8 |
| Sonata in E Major for Flute and Harpsichord, BWV 1035: i. Adagio ma non tanto |
134.4 |
| Sonata in E Major for Flute and Harpsichord, BWV 1035: ii. Allegro |
62.4 |
| Sonata in E Major for Flute and Harpsichord, BWV 1035: iii. Siciliano |
174.1 |
| Sonata in E Major for Flute and Harpsichord, BWV 1035: iv. Allegro assaid |
108.8 |
| Sonata in C Major for Flute and Basso Continuo, BWV 1033: i. Andante - Presto - Allegro |
97.4 |
| Sonata in C Major for Flute and Basso Continuo, BWV 1033: ii. Adagio - Menuets 1 & 2 |
106.5 |
| Sonata in E Minor for Flute and Basso Continuo, BWV 1034: i. Adagio ma non tanto |
85.8 |
| Sonata in E Minor for Flute and Basso Continuo, BWV 1034: ii. Allegro |
64.2 |
| Sonata in E Minor for Flute and Basso Continuo, BWV 1034: iii. Andante |
116.6 |
| Sonata in E Minor for Flute and Basso Continuo, BWV 1034: iv. Allegro |
108.0 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: i. Aria (Soprano): Weichet nur, betrubte Schatten |
99.0 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: ii. Recitative (Soprano): Die Welt wird wieder neu |
91.1 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: iii. Aria (Soprano): Phoebus eilt mit schnellen Pferden |
83.2 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: iv. Recitative (Soprano): Drum sucht auch Amor sein Vergnugen |
81.0 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: v. Aria (Soprano): Wenn die Fruhlingslufte streichen |
133.3 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: vi. Recitative (Soprano): Und dieses ist das Glucke |
77.9 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: vii. Aria (Soprano): Sich uben im Lieben, in Scherzen sich herzen |
164.4 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: viii. Recitative (Soprano): So wei das Band der keuschen Liebe |
106.2 |
| Cantata No. 202: Weichet nur, betrübte Schatten (Wedding Cantata), BWV202: ix. Gavotte (Soprano): Sehet in Zufriedenheit tausend helle Wohlfahrstage |
116.8 |
| Cantata No. 209: Non sa che sia dolore (Italian Cantata), BWV209: i. Sinfonia in B-minor |
82.1 |
| Cantata No. 209: Non sa che sia dolore (Italian Cantata), BWV209: ii. Recitative (Soprano): Non sa che sia dolore |
105.6 |
| Cantata No. 209: Non sa che sia dolore (Italian Cantata), BWV209: iii. Aria (Soprano): Parti pur, e con dolore |
96.9 |
| Cantata No. 209: Non sa che sia dolore (Italian Cantata), BWV209: iv. Recitative (Soprano): Tuo saver al tempo e l'eta contrasta |
191.4 |
| Cantata No. 209: Non sa che sia dolore (Italian Cantata), BWV209: v. Aria (Soprano): Ricetti gramezza e pavento |
154.9 |
| Cantata No. 51: Jauchzet Gott in allen Landen! (Trinity), BWV51: i. Aria (Soprano): Jauchzet Gott in allen Landen! |
78.1 |
| Cantata No. 51: Jauchzet Gott in allen Landen! (Trinity), BWV51: ii. Recitative (Soprano): Wir beten zu dem Tempel an |
79.7 |
| Cantata No. 51: Jauchzet Gott in allen Landen! (Trinity), BWV51: iii. Aria (Soprano): Höchster, mache deine Güte |
123.6 |
| Cantata No. 51: Jauchzet Gott in allen Landen! (Trinity), BWV51: iv. Chorale and Aria (Soprano): Sei Lob und Preis mit Ehren; Alleluia |
91.6 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: i. Chorus: Ein feste Burg ist unser Gott |
70.0 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: ii. Aria with Chorale (Bass, Soprano): Alles, was von Gott geboren |
75.3 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: iii. Recitative (Bass): Erwäge doch, Kind Gottes |
69.8 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: iv. Aria (Soprano): Komm in mein Herzenshaus |
108.3 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: v. Chorale: Und wenn die Welt voll Teufel wär |
83.9 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: vi. Recitative (Tenor): So stehe dann bei Christi blutgefärbten Fahne |
121.3 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: vii. Duet (Alto, Tenor): Wie selig sind doch die, die Gott im Munde tragen |
83.3 |
| Cantata No. 80: Ein' feste Burg ist unser Gott (Reformation Festival), BWV 80: viii. Chorale: Das Wort sie sollen lassen stahn |
94.8 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: i. Chorus: Lobet Gott in seinen Reichen |
86.6 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: ii. Evangelist (tenor): Der Herr Jesus hub seine Hände auf |
91.2 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: iii. Recitative (bass): Ach, Jesu, ist dein Abschied schon so nah? |
73.7 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: iv. Aria (alto): Ach, bleibe doch, mein liebstes Leben |
91.6 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: v. Evangelist: Und ward aufgehoben zusehends |
92.4 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: vi. Chorale: Nun lieget alles unter dir |
128.7 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: vii. Evangelists (tenor and bass): Und da sie ihm nachsahen gen Himmel fahren |
118.9 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: viii. Recitative (soprano): Ach ja! so komme bald zurück |
107.1 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: ix. Evangelist: Sie aber beteten ihn an |
80.4 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: x, Aria (soprano): Jesu, deine Gnadenblicke |
114.3 |
| Cantata No.11: Lobet Gott in seinen Reichen (Ascension), BWV 11: xi. Chorale: Wenn soll es doch geschehen |
92.2 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 1 (a 1 clav.) |
108.1 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 2 (a 1 clav.) |
102.8 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 3 (canone all'unisuono a 1 clav.) |
79.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 4 (a 1 clav.) |
77.4 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 5 (a 1 o vero 2 clav.) |
181.0 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 6 (canone alla seconda a 1 clav.) |
119.3 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 7 (a 1 o vero 2 clav., al tempo di giga) |
134.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 8 (a 2 clav.) |
88.2 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 9 (canone alla terza a 1 clav.) |
100.9 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 10 (fughetta a 1 clav.) |
81.4 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 11 (a 2 clav.) |
85.0 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 12 (canone alla quarta a 1 clav.) |
108.7 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 13 (a 2 clav.) |
134.8 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 14 (a 2 clav.) |
77.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 15 (canone alla quinta a 1 clav.: Andante) |
175.5 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 16 (ouverture a 1 clav.) |
139.4 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 17 (a 2 clav.) |
98.9 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 18 (canone alla sexta a 1 clav.) |
97.3 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 19 (a 1 clav.) |
100.2 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 20 (a 2 clav.) |
98.0 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 21 (canone alla settima a 1 clav.) |
179.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 22 (a 1 clav. alla breve) |
101.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 23 (a 2 clav.) |
89.7 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 24 (canone all'ottava a 1 clav.) |
86.1 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 25 (a 2 clav.: Adagio) |
90.5 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 26 (a 2 clav.) |
101.6 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 27 (canone alla nona a 2 clav.) |
78.2 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 28 (a 2 clav.) |
112.8 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 29 (a 1 o vero 2 clav.) |
83.0 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 30 (quodlibet a 1 clav.) |
87.4 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Variation 31 |
176.4 |
| Goldberg Variations, BWV988 (Clavier-Übung IV): Aria da capo |
105.1 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: i. Sinfonia |
168.0 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: ii. Adagio |
82.9 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: iii. Duet (Tenor, Bass) and Chorus: Kommt, eilet und laufe |
169.9 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: iv. Recitative (Alto, Soprano, Tenor, Bass): O kalter Männer Sinn |
85.3 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: v. Aria (Soprano): Seele, deine Spezereien |
108.4 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: vi. Recitative (Tenor, Bass, Alto): Hier ist die Gruft |
79.9 |
| 263 Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: vii. Aria (Tenor): Sanfte soll mein Todeskummer |
109.7 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: viii. Recitative (Soprano, Alto): Indessen seufzen wir |
108.0 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: ix. Aria (Alto): Saget, saget mir geschwinde |
165.2 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: x. Recitative (Bass): Wir sind erfreut |
81.3 |
| Easter Oratorio (Kommt, eilet und laufet, ihr flüchtigen Füße), BWV249: xi. Chorus: Preis und Dank |
83.8 |
| Cantata No.50: Nun ist das Heil und die Kraft (St. Michael), BWV50 |
111.7 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: i. Chorus: Wachet! betet! betet! wachet! |
72.3 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: ii. Recitative (Bass): Erschrecket, ihr verstockten Sünder |
83.8 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: iii. Aria (Alto): Wenn kömmt der Tag |
113.8 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: iv. Recitative (Tenor): Auch bei dem himmlischen Verlangen |
79.3 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: v. Aria (Soprano): Laßt der Spötter Zungen schmähen |
109.3 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: vi. Recitative (Tenor): Jedoch bei dem unartigen Geschlechte |
105.4 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: vii. Chorale: Freu dich sehr, o meine Seele |
89.3 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: viii. Aria (Tenor): Hebt euer Haupt empor |
114.5 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: ix. Recitative (Bass): Ach, soll nicht dieser große Tag |
111.5 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: x. Aria (Bass): Seligster Erquickungstag |
88.9 |
| Cantata No.70: Wachet, betet, seid bereit allezeit (26th Sunday after Trinity), BWV70: xi. Chorale: Nicht nach Welt, nach Himmel nicht |
83.2 |
| Cantata No. 53: Schlage doch, gewünschte Stunde, BWV53: Aria, “Schlage doch, gewunschte Stunde" |
105.7 |
| Passion According to St. John, BWV245: Aria, “Est ist vollbracht" |
81.7 |
| Cantata No. 54: Widerstehe doch der Sünde (Trinity), BWV 54: Aria, “Widerstehe doch der Sünde" |
86.4 |
| Passion According to St. Matthew, BWV244: Recitative, “Du Lieber Heiland" |
95.6 |
| Cantata No.55: Ich armer Mensch, ich Sündenknecht (22nd Sunday after Trinity), BWV55: Aria, 'Erbarme dich' |
78.2 |
| Cantata No. 54: Widerstehe doch der Sünde (Trinity), BWV 54: Recitative: “Die art verruchter Sünden" |
113.4 |
| Cantata No. 54: Widerstehe doch der Sünde (Trinity), BWV 54: Aria, “Wer Sunde tut" |
92.4 |
| Christmas Oratorio, BWV248: Aria, “Bereite dich, Zion" |
128.2 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: i. Sinfonia |
92.9 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: ii. Arioso (Alto): Gott soll allein mein Herze haben |
104.6 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: iii. Recitative (Alto): Was ist die Liebe Gottes? |
128.7 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: iv. Aria (Alto): Stirb in mir, Welt |
99.6 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: v. Recitative (Alto): Doch meint es auch dabei |
74.0 |
| Cantata No.169: Gott soll allein mein Herze habenn (18th Sunday after Trinity), BWV169: vi. Choral: Du süße Liebe, schenk uns deine Gunst |
70.3 |
