Bach and the High Baroque

Introduction

Christmas, 1722

Introduction to the Baroque Aesthetic

Fugue

Historical Overview From Constantine Through the Great Thinkers of the Baroque

Style Features of High Baroque Music, Part I: A Musical Glossary

Style Features of High Baroque Music, Part II: A Musical Glossary

Style Features of High Baroque Music, Part III: A Musical Glossary

Bach's Inheritance, Part I: — The Protestant Reformation and the Rise of Lutheranism

Lutheranism, the Chorale and the Chorale Prelude

Bach's Inheritance, Part II: — The Development of the Italian Style

The Italian Style, the Operatic Ideal and Lutheran Spirituality Are Joined

Vivaldi, Bach and the Concerto, Part I: Vivaldi and the Venetian Opera

Vivaldi, Bach and the Concerto, Part II: Vivaldi's Model and Bach, Violin Concerto No. 2 in E Major

Vivaldi, Bach and the Concerto, Part II: Bach Violin Concerto No. 2 in E Major (continued)

Vivaldi, Bach and the Concerto, Part III: The Concerto Grosso and the Brandenburg Concerto No. 2

Bach and the French Style, Part I: Dance and the Orchestral Suite

Dance and the Orchestral Suite (continued)

Bach and the French Style, Part II: The Keyboard Suite

The Keyboard Suite (continued)

Bach and Opera, Part I: — Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme

Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme (continued)

Bach and Opera, Part II: — Opera Buffa and the Secular Cantata, the Coffee Cantata

Opera Buffa and the Secular Cantata, the Coffee Cantata (continued)

Bach Transcendent — The Saint Matthew Passion, Part I

Bach Transcendent — The Saint Matthew Passion, Part II

Bach Transcendent — The Saint Matthew Passion, Part III

Bach Transcendent — The Saint Matthew Passion, Part IV

Bach Transcendent — The Goldberg Variations, Part I

Bach Transcendent — The Goldberg Variations, Part II

Bach Transcendent — The Goldberg Variations, Part III

Bach Transcendent — The Goldberg Variations, Part IV