Johann Sebastian Bach (DD) - Gran cantidad de cosas

Les paso este link con obras de Bach en descarga directa. Hay mucho, interpretado en piano. En la página además hay bocha de cosas de otros compositores.

Lo que hay de Bach es todo esto; que se diviertan...


Cello Suite no.1 - BWV 1007
I. Prelude (MP3, 2:41) Masecki, M.
II. Allemande (MP3, 2:25) Masecki, M.
III. Courante (MP3, 2:43) Masecki, M.
IV. Sarabande (MP3, 3:31) Masecki, M.
V. Menuet (MP3, 3:50) Masecki, M.
VI. Gigue (MP3, 1:27) Masecki, M.

Chorale Preludes (Organ)
This page lists recordings of Bach Chorale Preludes for the organ which are not part of any collection.

Wer nun den lieben Gott lässt walten BWV 690 (MP3, 2:16) Breemer, C.
Valet will ich Dir geben BWV 736 (MP3, 5:05) Breemer, C.

These works were recorded on the Bätz organ of the St. Ludgerus parochie in Loenen aan de Vecht, The Netherlands.

Chorale Preludes (transcribed by Ferrucio Busoni)

Ferrucio Busoni transcribed a number of the organ chorale preludes from the Clavier-Übung III and the Orgelbüchlein for piano. These marvellous and idiomatic transcriptions are favourites of every virtuoso pianist.

Transcriptions from the Clavier-Übung III :

Nun freut euch, lieben Christen. (MP3, 1:51) Debbie Hu, Pandora Records
Nun komm' der Heiden Heiland (MP3, 5:50) Kingma, J.

Transcriptions from the Orgelbüchlein :

Ich ruf zu dir, Herr Jesu Christ BWV639; 1713 (MP3, 3:12) Grant, J. L.
Ich ruf zu dir, Herr Jesu Christ BWV639; 1713 ( MP3, 3:49) Hawley, M.

Bach - Clavier-Übung III
Clavier-Übung III is the third installment of Johann Sebastian Bach's ambitious series of Clavier-Übungen. Unlike the other three volumes, which contains music for the harpsichord (the 6 Partitas in Volume I, the Italian Concerto and the Ouverture in French Style in Volume II, and the Goldberg Variations in Volume IV), Clavier-Übung III is written for the organ.

This heterogenous collection consists of multiple settings of the German Kyrie and Gloria, BWV 669-677, the Four Duets for organ manualiter, BWV 802-805, and the imposing prelude and fugue BWV 552 which is also known as St. Anne's prelude and fugue. The collection of Chorale Preludes is often referred to as the German Organ Mass.

Four duets
Duetto Nr. 1 in E minor, BWV 802 (MP3, 2:34) Breemer, C.
Duetto Nr. 2 in F major, BWV 803 (MP3, 3:58) Breemer, C.
Duetto Nr. 3 in G major, BWV 804 (MP3, 2:46) Breemer, C.
Duetto Nr. 4 in A minor, BWV 805 (MP3, 2:49) Breemer, C.

Chorale Preludes
BWV672 - Kyrie, Gott Vater in Ewigkeit (MP3, 1:09) Breemer, C.
BWV673 - Christe, aller Welt Trost (MP3, 1:41) Breemer, C.
BWV674 - Kyrie, Gott heiliger Geist (MP3, 1:49) Breemer, C.
BWV677 - Fughetta super Allein Gott in der Höh' sei Ehr' (MP3, 1:07) Breemer, C.
BWV683 - Vater unser im Himmelreich (MP3, 1:32) Breemer, C.
BWV684 - Christ, unser Herr, zum Jordan kam (MP3, 3:50) Breemer, C.
BWV685 - Christ, unser Herr, zum Jordan kam (MP3, 1:32) Breemer, C.

Die Kunst der Fuge (The Art of the Fugue) BWV 1080

"Die Kunst der Fuge", BWV 1080, is an unfinished work by Johann Sebastian Bach, composed in 1748-1750 and published in 1751, a year after his death. In writing the fourteen fugues and four canons contained in this work Bach demonstrated his complete mastery of the most complex musical counterpoint, achieving particularly elaborate and ingenious combinations of relatively simple themes in pieces which attain the highest musicality.

When Bach died in 1750, almost blind, he was still working on the mighty triple fugue which is now known as Contrapunctus 14. As legend has it, he was dictating the notes to his pupil and son-in-law Johann Christoph Altnickol. The fugue breaks off, touchingly, shortly after introducing the motto theme B-A-C-H. At that location in the autograph manuscript, Carl Philipp Emmanuel wrote a comment stating that 'the composer had died over this fugue, where the name BACH is brought in as a countersubject'. When Bach's sons submitted the work for publication, they apologised for the unfinished fugue and substituted the organ chorale "Wenn wir in höchsten Nöten sein" in place of it. Later editions removed this irrelevant chorale and gave the unfinished fugue its rightful place as the technical and emotional culmination of the cycle.

The recordings presented here use the Henle Urtext edtion, a revised edition by the renowned Bach scholar Davitt Moroney, who also completed the unfinished fugue and recorded a benchmark performance of Die Kunst der Fuge on the harpsichord. The order of the fugues and canons, which has long been unclear, follows the ordering from this edition.

Contrapunctus 1 (MP3, 3:35) Breemer, C.
Contrapunctus 2 (MP3, 3:01) Breemer, C.
Contrapunctus 3 (MP3, 3:12) Breemer, C.
Contrapunctus 4 (MP3, 5:55) Breemer, C.
Contrapunctus 5 (MP3, 3:38) Breemer, C.
Contrapunctus 6 (MP3, 4:17) Breemer, C. [per Diminutionem] in Stylo Francese
Contrapunctus 7 (MP3, 4:25) Breemer, C. per Augmentationem et Diminutionem
Contrapunctus 8 (MP3, 5:20) Breemer, C.
Contrapunctus 9 (MP3, 3:11) Breemer, C. alla Duodecima
Contrapunctus 10 (MP3, 5:38) Breemer, C. alla Decima
Contrapunctus 11 (MP3, 7:49) Breemer, C.
Contrapunctus 12a (MP3, 3:17) Breemer, C. [rectus]
Contrapunctus 12b (MP3, 3:23) Breemer, C.
Contrapunctus 13a (MP3, 2:22) Breemer, C. [rectus]
Contrapunctus 13b (MP3, 2:23) Breemer, C.
Contrapunctus 14 (MP3, 11:50) Breemer, C. (Completed by Davitt Moroney)
Canon 1 (MP3, 4:29) Breemer, C. In Hypodiapason (Canon alla Ottava)
Canon 2 (MP3, 4:03) Breemer, C. Canon alla Decima (Contrapunto all Terza)
Canon 3 (MP3, 4:50) Breemer, C. Canon alla Duodecima (in Contrapunto alla Quinta)
Canon 4 (MP3, 4:00) Breemer, C. Canon in Hypodiatesseron (per Augmentationem in Contrario Moto)
Contrapunctus 13, rectus, Alio modo (2 Clav.) (MP3, 2:25) Breemer, C. (with Vorontsova, E.)
Contrapunctus 13, inversus, Alio modo (2 Clav) (MP3, 2:43) Breemer, C. (with Vorontsova, E.)

French Suites

The French Suites were composed between 1722 and 1725. They consist of the traditional dances like Allemande, Courante, Menuet, Gavotte, Gigue, Sarabande as well as some less-frequently encountered dances like the Anglaise, Polonaise, Air, Bourree and Loure. These suites, not particularly 'French' in idiom, lack preludes, and are generally lighter and sparser than the Partitas and English Suites. They contain some of Bach's most popular and accessible keyboard writing.

As usual with Bach, parts of the suites were recycled from earlier works or sketchbooks, and they underwent several revisions after publication, like the addition of extra ornamentation.

French Suite no.1 in D minor, BWV812

I. Allemande (MP3, 1:48) Szames, G.
II. Courante (MP3, 1:16) Szames, G.
III. Sarabande (MP3, 2:32) Szames, G.
IV. Menuet I/II (MP3, 4:19) Szames, G.
V. Gigue (MP3, 2:10) Szames, G.

French Suite no.2 in C minor, BWV813

I. Allemande (MP3, 2:40)Szames, G
II. Courante (MP3, 1:21)Szames, G
III. Sarabande (MP3, 2:42)Szames, G
IV. Air (MP3, 0:57)Szames, G
V. Menuet (MP3, 1:02)Szames, G
VI. Gigue (MP3, 1:42) Szames, G.

French Suite no.3 in B minor, BWV814

I. Allemande (MP3, 2:13) Szames, G.
II. Courante (MP3, 1:25) Szames, G.
III. Sarabande (MP3, 2:19) Szames, G.
IV. Anglaise (MP3, 1:00) Szames, G.
V. Menuet (MP3, 2:39) Szames, G.
VI. Gigue (MP3, 1:47) Szames, G.

French Suite no.4 in E flat major, BWV815

I. Allemande (MP3, 1:25) Szames, G.
II. Courante (MP3, 1:19) Szames, G.
III. Sarabande (MP3, 2:39) Szames, G.
IV. Gavotte (MP3, 0:55) Szames, G.
V. Menuet (MP3, 1:07) Szames, G.
VI. Air (MP3, 1:15) Szames, G.
VII. Gigue (MP3, 1:54) Szames, G.

French Suite no.5 in G major, BWV816

I. Allemande (MP3, 2:01) Szames, G.
II. Courante (MP3, 1:28) Szames, G.
III. Sarabande (MP3, 3:44) Szames, G.
IV. Gavotte (MP3, 0:48) Szames, G.
V. Bourrée (MP3, 1:00) Szames, G.
VI. Loure (MP3, 1:29) Szames, G.
VII. Gigue (MP3, 2:40) Szames, G.

Two-Part Inventions

The 15 Two-part Inventions, BWV 722-786, and 15 Three-part Inventions, BWV787-801, the latter also known as Sinfonias, have their origins in the "Clavierbüchlein vor Wilhelm Friedemann Bach" which was started in 1720. In 1723, during his tenure as Kapellmeister in Cöthen, Bach made a fair copy of the two definitive sets, a beautifully written manuscript which is the basis for all modern editions. The fair copy bears this hand-written introduction in typical Bach style :

by which the amateurs of the clavichord - especially, however, those desirous of learning - are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligato parts correctly and well; and along with this not only to obtain good inventions (ideas), but to develop the same well; above all however, to achieve a cantabile style in playing and at the same time acquire a strong foretaste of composition.

From this, we can think it possible that Bach, while being well aware of the Inventions' many didactical qualities, originally intended them as a guide to extempore playing.

Another interesting issue is how they are numbered. Bach often numbered series of compositions in chromatic key order, starting at C major, and this is also the case with the two series of Inventions. Before the tempered tuning of instruments, the 24 keys existed in theory, but only 15 keys (C major, C minor, D major, D minor, E-flat major, E major, E minor, F major, F minor, G major, G minor, A major, A minor, B-flat major and B minor) were actually used in practice, and that is why both sets contain 15 pieces.

In the order above, it is obvious that the famous eight Invention should be in F major, which is indeed the key in which we know and love it. However, two different manuscript reproductions exist for this invention, using different numbering (see the manuscript page. The manuscript numbered as 8 was reproduced by Louis Spohr (1784 - 1859) while a manuscript reproduced by Wilhelm Friedemann Bach (J. S. Bach's oldest son and second child) is numbered as Invention number 4. Could Wilhem Friedemann have made a simple mistake, or was the original numbering not in chromatic order? We may never know...

In any case, there are few works in keyboard literature which so gloriously blend didactical and musical qualities.

Two-Part Invention nr.1 in C major - BWV772 (MP3, 1:05) Stahlbrand, R.
Two-Part Invention nr.2 in C minor - BWV773 (MP3, 1:57) McCarthy, M.
Two-Part Invention nr.8 in F major - BWV779 (MP3, 0:54) McCarthy, M.

Three-Part Inventions (Sinfonias)

Three-Part Invention no.7 in E minor BWV793 (MP3, 2:07) McCarthy, M.

Three-Part Invention no.1 in C major BWV787 (MP3, 1:16) Hokanson, R.
Three-Part Invention no.2 in C minor BWV788 (MP3, 1:50) Hokanson, R.
Three-Part Invention no.3 in D major BWV789 (MP3, 1:12) Hokanson, R.
Three-Part Invention no.4 in D minor BWV790 (MP3, 1:56) Hokanson, R.
Three-Part Invention no.5 in E-flat major BWV791 (MP3, 2:26) Hokanson, R.
Three-Part Invention no.6 in E major BWV792 (MP3, 1:32) Hokanson, R.
Three-Part Invention no.7 in E minor BWV793 (MP3, 2:17) Hokanson, R.
Three-Part Invention no.8 in F major BWV795 (MP3, 1:11) Hokanson, R.
Three-Part Invention no.9 in F minor BWV795 (MP3, 3:14) Hokanson, R.
Three-Part Invention no.10 in G major BWV796 (MP3, 1:02) Hokanson, R.
Three-Part Invention no.11 in G minor BWV796 (MP3, 1:34) Hokanson, R.
Three-Part Invention no.12 in A major BWV798 (MP3, 1:25) Hokanson, R.
Three-Part Invention no.13 in A minor BWV799 (MP3, 1:30) Hokanson, R.
Three-Part Invention no.14 in B-flat major BWV800 (MP3, 2:07) Hokanson, R.
Three-Part Invention no.15 in B minor BWV787 (MP3, 1:31) Hokanson, R.

Leipziger Chorales

The collection of 18 Organ Chorales BWV 651-668 is also known as the Leipziger Chorales. Most of them were composed between 1708 and 1719 when Bach was employed as Kapellmeister in Weimar. The last two chorales are expanded versions of preludes from the Orgelbüchlein which was also composed in the Weimar years. The last chorale, Vor Deinen Thron tret Ich, BWV 668, was also published in the first 1751 edition of Die Kunst der Fuge, under its alternative name Wenn wir in Höchsten Nöten sein, as a makeweight for the incomplete fugue.

The richly varied set is organized in groups of different settings of the same Lutheran chorale. For example there are two settings of Komm, Heiliger Geist, three of Allein Gott in der Höh' sei Ehr, and three of the famous Nun komm' der Heiden Heiland (which is perhaps more famous in the piano transcription by Ferrucio Busoni). Some chorales are virtuoso showpieces, others are simple improvisational preludes, and some are trios, anticipating the Trio Sonatas in their use of three fully independent parts.

Together with the Clavier Ubung part III, the Orgelbüchlein, and the Schübler Chorales, the Leipziger Chorales form the bulk of Bach's chorale-based organ compositions.

1 - Fantasia super "Komm, heiliger Geist" (Canto fermo in pedale) BWV 651 (MP3, 5:23) Breemer. C
2 - O Lamm Gottes unschuldig (3 Versus) BWV 656 (MP3, 11:02) Breemer. C
11 - Num komm' der Heiden Heiland (In organo pleno. Canto ferme in pedale) BWV 661 (MP3, 3:22) Breemer. C
16 - Jesus Christus, unser Heiland (alio modo) BWV 666 (MP3, 4:32) Breemer. C

These chorales were recorded on the Bätz organ of the St. Ludgerus Parochie in Loenen aan de Vecht, The Netherlands.


Capriccio on the Departing of his Most Beloved Brother in Bb, BWV992 (MP3, 2:26) Morin-Paul, N.

This great organ work was composed in 1725 during the Cöthen period of his life (along with the Brandenburg Concerti and the first book of the WTK).
Chromatic Fantasy and Fugue in D minor (BWV903, 1725) (MP3, 10:18) Hawley, M.

This work was transcribed to keyboard by Franz Liszt.
The "Great" Fantasy (& Fugue) in G minor (BWV542; 1708) (MP3, 6:00) Hawley, M.

Musikalisches Opfer

Bach composed his Musikalisches Opfer (Musical Offering) after a visit to king Frederick the Great (Friedrich der Grosse) of Prussia in 1747. This visit is one of the few fully documented events in Bach's career. King Frederick was a skilled amateur flautist and composer, and he had invited Bach for a private concert appearance at the Prussian court in Potsdam. During the concert, he provided Bach with a theme (hereafter referred to as the Royal Theme) to improvise a fugue on. Despite the 'difficulty' of the theme (which is much longer than usual for a fugue theme), Bach rose splendidly to the occasion, and astonished the king with his brilliant improvisations.

Bach however felt that he had not by large fully realized the potential of the Royal Theme, and announced that he would do a proper job with it. Several months later he published the Musical Offering at his own expense. The set consists of three fugues, a trio sonata, and a number of canons, all based on the Royal Theme. Bach's ingenious dedication to Fredrick the Great reads

Regis Iussu Cantio et Reliqua Canonica Arte Resoluta

("a theme and other things worked out in canon by the King's command") The bein letters of this dedication mark out the word Ricercar, the name Bach gave to two of the fugues, one for 3 voices and one for 6 voices.

Bach sent a copy of the printed score, with a dedication in German, to the king. It is not known whether or not the king, who was a man of simple musical tastes and could barely read German, approved of Bach's masterfully artful adaptations of his theme. In any case, the Musical Offering stands, together with the Art of Fugue, as the foremost example of Bach's contrapuntal skills.

Ricercar a 3 (MP3, 6:27) Breemer. C.
Fuga canonica in epidiapente (MP3, 2:13) Breemer. C.
Ricercar a 6 (soon to come)


The Orgelbüchlein ("Little Organ Book") is a collection of 46 organ chorales, BWV 599-644, mostly written between 1708 and 1717 when Bach was organist at the Weimar court, and published during his tenure in Anhalt-Cöthen. The dedication, in typical flowery Bach style, reads


Worinne einem Anfangenden Organisten Anleitung gegeben wird, auf allerhand Arth einen Choral durchzuführen, an-beÿ auch sich in Pedal studio zu habilitiren, indem in solchen darinne befindlichen Choralen das Pedal gantz obligat traciret wird.

Dem Hochsten Gott allein' zu ehren, Dem Nechsten, draus sich zu belehren.

Autore Joanne Sebast. Bach p.t. Capelle Magistri S.P.R. Anhaltini-Cotheniensis.

(Little Organ Book)

In which a beginner organist is given instruction in performing a chorale in different ways and at the same time to accustom himself to the use of the pedals, in that the chorales contained within it the pedal is treated completely obbligato.

To the glory of God on high, and to instruct men thereby.

Author Johann Sebastian Bach, presently Capellmeister of His Serene Highness, the Prince of Anhalt-Cöthen.)

This dedication, as well as the title, suggest a mere collection of pedagogical works for beginning organists. This, however, is a typical Bach understatement. These pieces, while much more compact than the large-scale Leipziger Chorales, Schübler Chorales and the chorales from the Clavier-Übung III, are of the highest musical and technical order, and certainly meant as much for professional as for beginning organists. One might say that the Orgelbüchlein is to the organ what the Well-Tempered Clavier is to the piano or harpsichord.

Nun komm der Heiden Heiland - BWV 599 (MP3, 1:45) Breemer, C.
Der Tag, der ist so freudenreich - BWV 605 (MP3, 2:11) Breemer, C.
Christus, der uns selig macht - BWV 620a (MP3, 2:03) Breemer, C. (Early version)
Da Jesus an dem Kreuze stund - BWV 621 (MP3, 1:47) Breemer, C.
O Mensch, bewein dein Sünde groß - BWV 622 (MP3, 5:43) Breemer, C.
Erstanden ist der heil'ge Christ - BWV 628 (MP3, 0:51) Breemer, C.
Erschienen ist der herrliche Tag - BWV 629 (MP3, 1:11) Breemer, C.
Ich ruf zu Dir, Herr Jesu Christ - BWV 639 (MP3, 3:07) Breemer, C.
Alle Menschen müssen sterben - BWV 643 (MP3, 2:07) Breemer, C.

Partita no.5 in G BWV.829

I. Praembulum in G major (MP3, 2:38) Kopp, S.
VI. Passepied in G major (MP3, 1:45) Kopp, S.

Preludes, Fantasias and Fugues

Prelude and Fughetta in D minor, BWV 889 (MP3, 3:15) Breemer, C.
Fantasia and Fugue in A minor, BWV 904 (MP3, 10:52) Breemer, C.
Fantasia and Fugue in D minor, BWV 905 (MP3, 5:11) Breemer, C.
Fantasia in C minor, BWV 906 (MP3, 4:21) Breemer, C.
5 Kleine Praeludien BWV 939-943 (MP3, 4:36) Breemer, C.

The Well-Tempered Clavier Book I.

Prelude nr.1 in C major BWV846a (MP3, 2:11) Grant, J. L.
Fugue nr.1 in C major BWV846a (MP3, 2:19) Grant, J. L.
Prelude nr.2 in C minor BWV847a (MP3, 1:33) Grant, J. L.
Fugue nr.2 in C minor BWV847b (MP3, 1:30) Grant, J. L.
Prelude nr.3 in C-sharp major BWV848a (MP3, 1:11) Grant, J. L.
Fugue nr.3 in C-sharp major BWV848b (MP3, 2:03) Grant, J. L.
Prelude nr.4 in C-sharp minor BWV849a (MP3, 3:35) Grant, J. L.
Fugue nr.4 in C-sharp minor BWV849b (MP3, 6:11) Grant, J. L.
Prelude nr.5 in D major BWV850a (MP3, 1:12) Grant, J. L.
Fugue nr.5 in D major BWV850b (MP3, 2:09) Grant, J. L.
Prelude nr.6 in D minor BWV851a (MP3, 1:20) Grant, J. L.
Fugue nr.6 in D minor BWV851b (MP3, 2:33) Grant, J. L.
Prelude nr.7 in E-flat major BWV852a (MP3, 3:58) Grant, J. L.
Fugue nr.7 in E-flat major BWV852b (MP3, 1:36) Grant, J. L.
Prelude nr.8 in E-flat minor BWV853a (MP3, 4:22) Grant, J. L.
Fugue nr.8 in E-flat minor BWV853b (MP3, 6:36) Grant, J. L.
Prelude nr.9 in E major BWV854a (MP3, 1:30) Grant, J. L.
Fugue nr.9 in E major BWV854b (MP3, 1:01) Grant, J. L.
Prelude nr.10 in E minor BWV855a (MP3, 2:58) Grant, J. L.
Fugue nr.10 in E minor BWV855b (MP3, 1:02) Grant, J. L.
Prelude nr.11 in F major BWV856a (MP3, 0:59) Grant, J. L.
Fugue nr.11 in F major BWV856b (MP3, 1:14) Grant, J. L.
Prelude nr.12 in F minor BWV857a (MP3, 2:09) Grant, J. L.
Fugue nr.12 in F minor BWV857b (MP3, 5:32) Grant, J. L.
Prelude nr.13 in F-sharp major BWV858a (MP3, 1:40) Grant, J. L.
Fugue nr.13 in F-sharp major BWV858b (MP3, 2:15) Grant, J. L.
Prelude nr.14 in F-sharp minor BWV859a (MP3, 0:56) Grant, J. L.
Fugue nr.14 in F-sharp minor BWV859b (MP3, 5:32) Grant, J. L.
Prelude nr.15 in G major BWV860a (MP3, 0:48) Grant, J. L.
Fugue nr.15 in G major BWV860b (MP3, 2:20) Grant, J. L.
Prelude nr.16 in G minor BWV861a (MP3, 2:09) Grant, J. L.
Fugue nr.16 in G minor BWV861b (MP3, 1:38) Grant, J. L.
Prelude nr.17 in A-flat major BWV862a (MP3, 1:18) Grant, J. L.
Fugue nr.17 in A-flat major BWV862b (MP3, 3:09) Grant, J. L.
Prelude nr.18 in G-sharp minor BWV863a (MP3, 1:22) Grant, J. L.
Fugue nr.18 in G-sharp minor BWV863b (MP3, 3:30) Grant, J. L.
Prelude nr.19 in A major BWV864a (MP3, 1:17) Grant, J. L.
Fugue nr.19 in A major BWV864b (MP3, 2:39) Grant, J. L.
Prelude nr.20 in A minor BWV865a (MP3, 1:33) Grant, J. L.
Fugue nr.20 in A minor BWV865b (MP3, 1:02) Grant, J. L.
Prelude nr.21 in B-flat major BWV866a (MP3, 3:40) Grant, J. L.
Fugue nr.21 in B-flat major BWV866b (MP3, 1:42) Grant, J. L.
Prelude nr.22 in B-flat minor BWV867a (MP3, 3:09) Grant, J. L.
Fugue nr.22 in B-flat minor BWV867b (MP3, 4:17) Grant, J. L.
Prelude nr.23 in B-major BWV868a (MP3, 1:01) Grant, J. L.
Fugue nr.23 in B-major BWV868b (MP3, 2:39) Grant, J. L.
Prelude nr.24 in B minor BWV869a (MP3, 7:58) Grant, J. L.
Fugue nr.24 in B minor BWV869b (MP3, 7:46) Grant, J. L.

Prelude nr.1 in C major BWV846a (MP3, 2:28) Dukes. C.
Prelude nr.1 in C major BWV846a (MP3, 2:28) McCarthy, M.
Prelude nr.1 in C major BWV846a (MP3, 1:46) Schmidt, O.
Prelude & Fugue nr.1 in C major BWV846 (MP3, 4:24) Stahlbrand, R.
Prelude & Fugue nr.2 in C minor BWV847 (MP3, 4:08) Stahlbrand, R.
Prelude & Fugue nr.2 in C minor BWV847 (MP3, 3:25) Morin-Paul, N.
Prelude nr.2 in C minor BWV847a (MP3, 1:52) Kingma, J.
Fugue nr.2 in C minor BWV847b (MP3, 1:42) Kingma, J.
Prelude nr.2 in C minor BWV847a (MP3, 1:54) Kopp, S.
Fugue nr.2 in C minor BWV847b (MP3, 1:32) Kopp, S.
Prelude nr.3 in C-sharp major BWV848a (MP3, 1:24) Huang, E.
Prelude nr.3 in C-sharp major BWV848a (MP3, 1:20) Schmidt, O.
Fugue nr.3 in C-sharp major BWV848b (MP3, 2:23) Huang, E.
Prelude & Fugue nr.5 in D major BWV850 (MP3, 2:55) Schmidt, O.
Prelude & Fugue nr.6 in D minor BWV851 (MP3, 3:28) Schmidt, O.
Prelude & Fugue nr.7 in E flat major BWV852 (MP3, 5:37) Breemer, C.
Prelude nr.8 in E-flat minor BWV853a (MP3, 3:34) Gardels, C.
Prelude nr.9 in E major BWV854a (MP3, 1:14) Schmidt, O.
Prelude & Fugue nr. 10 in E Minor BWV855 (MP3, 3:31) Schmidt, O.
Prelude nr.21 in B-flat major BWV866a (MP3, 1:32) McCarthy, M.
Prelude & Fugue nr. 21 in B flat major BWV866 (MP3, 2:50) Schmidt, O.

The Well-Tempered Clavier book II.

Prelude and fugue nr.1 in C major BWV870 (MP3, 3:49) Klyuev, I.
Prelude nr.2 in C minor BWV871a (MP3, 1:34) Thomas, J.
Fugue nr.2 in C minor BWV871b (MP3, 2:40) Thomas, J.
Prelude & Fugue nr. 12 in F minor BWV881 (MP3, 7:44) Pohl, R.
Prelude nr.22 in B-flat minor BWV891a (MP3, 2:38) Grant, J. L.
Prelude and fugue nr.22 in B-flat minor BWV891 (MP3, 8:32) Klyuev, I.

Goldberg variations, BWV.988

Aria (MP3, 1:44) Su, S.

Aria Variata BVW.989

Variation no.1 (MP3, 7:06) Kinsella, B.
Variation no.2 (MP3, 3:50) Kinsella, B.
Variation no.3 (MP3, 2:20) Kinsella, B.