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1
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Introduction
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26 位听众
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2
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Christmas, 1722
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3
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Introduction to the Baroque Aesthetic
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4
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Fugue
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8 位听众
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5
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Historical Overview From Constantine Through the Great Thinkers of the Baroque
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6
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Style Features of High Baroque Music, Part I: A Musical Glossary
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7
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Style Features of High Baroque Music, Part II: A Musical Glossary
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8
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Style Features of High Baroque Music, Part III: A Musical Glossary
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9
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Bach's Inheritance, Part I: — The Protestant Reformation and the Rise of Lutheranism
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10
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Lutheranism, the Chorale and the Chorale Prelude
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11
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Bach's Inheritance, Part II: — The Development of the Italian Style
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12
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The Italian Style, the Operatic Ideal and Lutheran Spirituality Are Joined
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13
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Vivaldi, Bach and the Concerto, Part I: Vivaldi and the Venetian Opera
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14
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Vivaldi, Bach and the Concerto, Part II: Vivaldi's Model and Bach, Violin Concerto No. 2 in E Major
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15
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Vivaldi, Bach and the Concerto, Part II: Bach Violin Concerto No. 2 in E Major (continued)
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16
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Vivaldi, Bach and the Concerto, Part III: The Concerto Grosso and the Brandenburg Concerto No. 2
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17
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Bach and the French Style, Part I: Dance and the Orchestral Suite
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18
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Dance and the Orchestral Suite (continued)
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19
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Bach and the French Style, Part II: The Keyboard Suite
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20
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The Keyboard Suite (continued)
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21
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Bach and Opera, Part I: — Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme
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22
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Cantata No. 140 Wachet Auf, Uns Ruft Die Stimme (continued)
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23
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Bach and Opera, Part II: — Opera Buffa and the Secular Cantata, the Coffee Cantata
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24
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Opera Buffa and the Secular Cantata, the Coffee Cantata (continued)
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25
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Bach Transcendent — The Saint Matthew Passion, Part I
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26
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Bach Transcendent — The Saint Matthew Passion, Part II
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27
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Bach Transcendent — The Saint Matthew Passion, Part III
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28
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Bach Transcendent — The Saint Matthew Passion, Part IV
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29
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Bach Transcendent — The Goldberg Variations, Part I
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30
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Bach Transcendent — The Goldberg Variations, Part II
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