Emby / Bach and the High Baroque
01 - Introduction
02 - Christmas, 1722
03 - Introduction to the Baroque Aesthetic
04 - Fugue
05 - Historical Overview from Constantine through the Great Thinkers of the Baroque
06 - Style Features of High Baroque Music, Part I—A Musical Glossary
07 - Style Features of High Baroque Music, Part II—A Musical Glossary
08 - Style Features of High Baroque Music, Part III—A Musical Glossary
09 - Bach's Inheritance, Part I—The Protestant Reformation and the Rise of Lutheranism
10 - Lutheranism, the Chorale and the Chorale Prelude
11 - Bach's Inheritance, Part II—The Development of the Italian Style
12 - The Italian Style, The Operatic Ideal and Lutheran Spirituality are Joined
13 - Vivaldi, Bach and the Concerto, Part I—Vivaldi and the Venetian Opera
14 - Vivaldi, Bach and the Concerto, Part II—Vivaldi's Model and Bach, Violin Concerto No. 2 in E Major
15 - Vivaldi, Bach and the Concerto, Part II—Bach Violin Concerto No. 2 in E Major (cont.)
16 - Vivaldi, Bach and the Concerto, Part III—The Concerto Grosso and the Brandenburg Concerto No. 2
17 - Bach and the French Style, Part I—Dance and the Orchestral Suite
18 - Dance and the Orchestral Suite (cont.)
19 - Bach and the French Style, Part II—The Keyboard Suite
20 - The Keyboard Suite (cont.)
21 - Bach and Opera, Part I—Cantata No. 140 Wachet auf, uns ruft die stimme
22 - Cantata No. 140 Wachet auf, uns ruft die stimme (cont.)
23 - Bach and Opera, Part II—Opera Buffa and the Secular Cantata, The Coffee Cantata
24 - Opera Buffa and the Secular Cantata, The Coffee Cantata (cont.)
25 - Bach Transcendent—The Saint Matthew Passion, Part I
26 - Bach Transcendent—The Saint Matthew Passion, Part II
27 - Bach Transcendent—The Saint Matthew Passion, Part III
28 - Bach Transcendent—The Saint Matthew Passion, Part IV
29 - Bach Transcendent—The Goldberg Variations, Part I
30 - Bach Transcendent—The Goldberg Variations, Part II
31 - Bach Transcendent—The Goldberg Variations, Part III
32 - Bach Transcendent—The Goldberg Variations, Part IV