Concerto for Harpsichord and Strings Beatrice Rana, Piano Amsterdam Sinfonietta Concerto for Harpsichord and Strings Beatrice Rana, Piano Amsterdam Sinfonietta Concerto for Harpsichord and Strings ...

(L') Art de toucher le clavecin, Movements: Prelude No. 3 in G minor Benjamin Alard, Harpsichord (L') Art de toucher le clavecin, Movements: Prelude No. 6 in B minor Benjamin Alard, Harpsichord ...

A brilliant new album of bright Baroque concertos from three members of the Bach family. Album of the Week, 11 March 2013. It's well known that the Bach family were unusually talented, but it's a ...

David Fray knows how to make Bach sexy. The 27-year-old Frenchman brings his powerfully individual voice and awe-inspiring technique to bear on four keyboard concertos J.S. Bach wrote around 1733 for ...

In the last days of July he Finnish pianist Tuija Hakkila left behind the endless summer twilights of her own country for a few days of lower latitudes and earlier nightfalls in Upstate New York. At ...

Playing on a modern Steinway, the Italian pianist invests Bach’s keyboard works with vitality and a memorable soft-edged inwardness Last year, the young Italian pianist Federico Colli made waves with ...

The Solisten’s historically informed style played on modern instruments, with Kapelis’s crisp piano articulation, made for a musical equivalent of Bridgerton String players wielding baroque bows don’t ...

Johann Sebastian Bach's music is known for its symmetrical structure and mathematical patterns. But pianist Simone Dinnerstein thinks Bach's deviations from those patterns are what make the music so ...

Great Composers Month on the Full Works Concert continues with pieces showcasing the diverse compositions of J.S. Bach. Johann Sebastian Bach (1685-1750) was one of classical music's greatest geniuses ...

Eight women played an important role in the life of composer JS Bach and in his family's musical tradition. An exhibition in the Berlin Cathedral shows how the role of women evolved in Bach's time and ...

Pianists were shell-shocked when the tidal wave of period performance practices hit. The belief that musicians should play in the style used when individual works were written automatically excluded ...