Name: Bach, C Major Prelude & Fugue, BWV 846, Well-tempered Clavier, Book I by JOHN LEWIS GRANT
Duration: 4 min 18 s
Description: The C major prelude PLUS the fugue that immediately follows it. Version date: 2024-05-14

Cherubim Hymn - Orthodox Church

Summer greetings from S:t Jacobs Chamber Choir

Here’s some “easy listening” from S:t Jacobs Chamber Choir with Mozarts c-minor Mass from a concert in Storkyrkan, Stockholm (Sweden) march 9, 2014 together with REbaroque and some of Sweden’s finest soloists.

 REbaroque, concert master, Maria Lindahl

Maria Keohane, soprano
Anna Zander, mezzo soprano
Carl Unander-Scharin, tenor
Karl-Magnus Fredriksson, bass

Gary Graden, conductor

Sebastian Lönberg, Sound Engineer

6. Qui Tollis - Great Mass In C Minor - Mozart

3. Laudamus Te - Great Mass In C Minor - Mozart

Gregorian Chants And Monastery Prayer For Spiritual Renewal - Catholic Monastery Prayer (320 Kbps)

Acetate

The C major prelude PLUS the fugue that immediately follows it. Version date: 2024-05-14

Bach, C Major Prelude & Fugue, BWV 846, Well-tempered Clavier, Book I

Sonata of Dreams in F# Minor

Anima Christi - Marco Frisina

Pane di vita nuova

Anima Christi

Prezentujemy pieśń "Christos anesti" (Chrystus zmartwychwstał), którą wykonał Męski Chór Kameralny im. Bodgana Onisimowicza w Kaplicy Trójcy Świętej na Zamku Lubelskim na zakończenie I dnia festiwalu  "Wschodniosłowiańskie dziedzictwo kulturowe Lublina" w dniu 19 maja 2017 r.

Christos Anesti - koncert w Kaplicy Trójcy Świętej na Zamku Lubelskim

The Litany Of The Saints

I’m into generating alternative interpretations of solo piano music in the classical repertoire. I got stuck on Bach’s Well-tempered Clavier (for various reasons) and never really got around to much else. Why MIDI?   Simple, really. There are many, many ways of thinking about music, “analyzing it,” so to speak, and ultimately arriving at a particular conception. “MIDI” is simply one among many ways to think about a piece of music , and sometimes it’s quite useful. In my case, it allows me to see—and easily to manipulate—the structure of a piece of music as a whole. That’s important, in fact absolutely critical in the music of Bach. It’s very hard and time-consuming work to generate a conception of “the whole” at the piano. Incredibly time-consuming and for me virtually impossible. So MIDI—because it permits massive changes in no time at all—has been very useful. It allows me to say: “there’s how I think this music should go,” which I wouldn’t be able to do at the piano.

Bach, C Major Prelude & Fugue, BWV 846, Well-tempered Clavier, Book I

JOHN LEWIS GRANT

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