26 Royalty-Free Audio Tracks for "1685 1750"

Johann Sebastian Bach (21 de marzo de 1685 - 28 de julio de 1750) MIDI file of dubious quality.

Johann Sebastian Bach (21 de marzo de 1685 - 28 de julio de 1750)

Johann Sebastian Bach (21 de marzo de 1685 - 28 de julio de 1750)

Johann Sebastian Bach (21 de marzo de 1685 - 28 de julio de 1750)

Johann Sebastian Bach (21 de marzo de 1685 - 28 de julio de 1750)

Aus meines Herzens Grunde, Chorale 1 (BWV 269), for harpsichord and piano by J. S. Bach (1685–1750) from Editions de J.P Kimberger - C.P.E Bach.

Ich dank dir, lieber Herre (BWV 347) for harpsichord and piano by J. S. Bach (1685–1750) from Editions de J.P Kimberger - C.P.E Bach

Lobet den Herrn, alle Heiden (BWV 230) for voice (SATB) and continuo by J. S. Bach (1685–1750) from Edition Peters, 4592.

Polonaise in F major (BWV Anh. 117a) for piano by J. S. Bach (1685–1750) from Bach-Gesellschaft Ausgabe 1851-1899 Band 43 (1894).

Johann Sebastian Bach (1685-1750): Choral prelude for organ ‘’Now comes the gentiles' Saviour’’ (about 1708-1717), BWV 659, Adagio, G minor, transcription for piano (1907-1909) by Feruccio Busoni (1866-1924), dedicated to José Vianna da Motta (1868-1948) in meantone temperament

Nun lob, mein Seel, den Herren, melody by Hans Kugelmann, harmonization by Johann Sebastian Bach (1685 – 1750), Bach-Werke-Verzeichnis (BWV) 17.7, adapted to Kugelmann's original melody by Rabanus Flavus (Peter Gerloff) Nun lob, mein Seel, den Herren, Melodie von Hans Kugelmann, Harmonisierung von Johann Sebastian Bach (BWV 17.7), angepasst an Kugelmanns Originalmelodie (Gotteslob 1975 Hildesheim) von Rabanus Flavus (Peter Gerloff)

Nun lob, mein Seel, den Herren, melody by Hans Kugelmann, harmonization by Johann Sebastian Bach (1685 – 1750), Bach-Werke-Verzeichnis (BWV) 17.7, adapted to Kugelmann's original melody by Rabanus Flavus (Peter Gerloff) Nun lob, mein Seel, den Herren, Melodie von Hans Kugelmann, Harmonisierung von Johann Sebastian Bach (BWV 17.7), angepasst an Kugelmanns Originalmelodie (Gotteslob 2013 Hamburg) von Rabanus Flavus (Peter Gerloff)

Nun lob, mein Seel, den Herren, melody by Hans Kugelmann, harmonization by Johann Sebastian Bach (1685 – 1750), Bach-Werke-Verzeichnis (BWV) 17.7, adapted to Kugelmann's original melody by Rabanus Flavus (Peter Gerloff) Nun lob, mein Seel, den Herren, Melodie von Hans Kugelmann, Harmonisierung von Johann Sebastian Bach (BWV 17.7), angepasst an Kugelmanns Originalmelodie (Evang. Gesangbuch 289) von Rabanus Flavus (Peter Gerloff)

J. S. Bach - bwv 670 - christe, aller welt trostchriste, aller welt trost is from clavierübung part 3composed by j. S. Bach (1685-1750)performed by l franke, organlocality tölö churchdate 2018-08-09recorded with a zoom h1. I was sitting to the left in the church. I placed the recorder at the armrest pointing towards the alter. Like your ears usually are pointing forward when listening to the organ in a church. No post editing of the sound.

J. S. Bach - bwv 766 - partite diverse sopra: christ, der du bist der helle tagcomposed by j. S. Bach (1685-1750)performed by l franke, organlocality tölö churchdate 2018-08-09recorded with a zoom h1. I was sitting to the left in the church. I placed the recorder at the armrest pointing towards the alter. Like your ears usually are pointing forward when listening to the organ in a church. No post editing of the sound.

Title/Work: Cantate No. 189 (BWV 189) Content: Disc 23A: Meine Seele rühmt und preist (Part 1) Genre(s): Cantata Author(s)/(Composer(s): Johann Sebastian Bach (1685-1750) Music arranger(s): none Lyricist(s): none Performer(s): Max Meili (1899-1970) Conductor: Curt Sachs (1881-1959) Place of recording: Paris (France) 1st release date: 1935 1st recording date: 1935

Title/Work: Brandenburg Concerto No. 2 in F major, BWV 1047 Content: 1st Movement: Allegro (2nd Record) Genre(s): Concerti grossi, Concerti grossi by Johann Sebastian Bach Author(s)/(Composer(s): Johann Sebastian Bach (1685 – 1750) Music arranger(s): - Lyricist(s): - Performer(s): Philadelphia Orchestra (Orchestra,1900 - ) Conductor: Leopold Stokowski (1882 - 1977) Place of recording: 1st release date: - 1st recording date: 1 September 1928

Auf, auf, mein Herz, mit Freuden, melody by Johann Crüger (1598 – 1662), basso and harmonization by Johann Sebastian Bach (1685 – 1750), Bach-Werke-Verzeichnis (BWV) 441, adapted to Crüger's original melody by Rabanus Flavus (Peter Gerloff) Auf, auf, mein Herz, mit Freuden, Melodie von Johann Crüger, Bass und Harmonisierung von Johann Sebastian Bach (BWV 441), angepasst an Crügers Originalmelodie (Evang. Gesangbuch 112) von Rabanus Flavus (Peter Gerloff)

Title/Work: Meine Seele rühmt und preist (My soul extols and praises), BWV 189 Content: Disc 23B: Part 2: Recitative and aria Genre(s): Cantata Author(s)/(Composer(s): Johann Sebastian Bach (1685-1750) Music arranger(s): none Lyricist(s): none Performer(s): Max Meili (1899-1970) Conductor: Curt Sachs (1881-1959) Place of recording: Paris (France) 1st release date: 1935 1st recording date: 1935

Title/Work: Brandenburg Concerto No. 2 in F major, BWV 1047 Content: 2nd Movement: Andante (2nd Record) Genre(s): Concerti grossi Author(s)/Composer(s): Johann Sebastian Bach (1685-1750) Music arranger(s): none Lyricist(s): none Performer(s): Philadelphia Orchestra Conductor: Leopold Stokowski (1882-1977) Place of recording: Academy of Music, Philadelphia, Pennsylvania (United States) 1st release date: 1929 1st recording date: 17 December 1928

Title/Work: Brandenburg Concerto No. 2 in F major, BWV 1047 Content: 2nd Movement: Andante (1st Record) Genre(s): Concerti grossi Author(s)/Composer(s): Johann Sebastian Bach (1685-1750) Music arranger(s): none Lyricist(s): none Performer(s): Philadelphia Orchestra Conductor: Leopold Stokowski (1882-1977) Place of recording: Academy of Music, Philadelphia, Pennsylvania (United States) 1st release date: 1929 1st recording date: 17 December 1928

Title/Work: Brandenburg Concerto No. 2 in F major, BWV 1047 Content: 1st Movement: Allegro (1st Record) Genre(s): Concerti grossi Author(s)/Composer(s): Johann Sebastian Bach (1685-1750) Music arranger(s): none Lyricist(s): none Performer(s): Philadelphia Orchestra Conductor: Leopold Stokowski (1882-1977) Place of recording: Academy of Music, Philadelphia, Pennsylvania (United States) 1st release date: 1929 1st recording date: 27-29 September 1928

.mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Johann Sebastian Bach  (1685–1750)      

.mw-parser-output .commons-creator-table{background-color:#f0f0ff;box-sizing:border-box;font-size:95%;text-align:start}.mw-parser-output .commons-creator-table>tbody>tr{vertical-align:top}.mw-parser-output .commons-creator-table>tbody>tr>th{background-color:#e0e0ee;font-weight:bold;text-align:start}@media(max-width:719px){.mw-parser-output .commons-creator-table,.mw-parser-output .commons-creator-table>tbody{display:block;width:100%}.mw-parser-output .commons-creator-table>tbody{border-right:1px solid #aaa;border-bottom:1px solid #aaa}.mw-parser-output .commons-creator-table>tbody>tr{border-top:1px solid #aaa;display:flex;flex-wrap:wrap}.mw-parser-output .commons-creator-table>tbody>tr>th{border-left:1px solid #aaa;padding:2px;flex:1 1 100%}.mw-parser-output .commons-creator-table>tbody>tr>td{border-left:1px solid #aaa;padding:2px;flex:1 1}}@media(min-width:720px){.mw-parser-output .commons-creator-table{border:1px solid #aaa;border-collapse:collapse;border-spacing:0;padding:5px}.mw-parser-output .commons-creator-table>tbody>tr>th,.mw-parser-output .commons-creator-table>tbody>tr>td{border:1px solid #aaa;padding:2px}.mw-parser-output .commons-creator-table>tbody>tr>.halfwidth{max-width:10em}.mw-parser-output .commons-creator-table>tbody>tr>.fullwidth{max-width:20em}} Johann Sebastian Bach  (1685–1750)      

Johann Sebastian Bach (1685-1750) Cantata BWV 125: Mit Fried und Freud ich fahr dahin (2 February 1725) 1. Mit Fried und Freud ich fahr dahin (Chorus) 2. Ich will auch mit gebrochnen Augen (Aria: A) 05:27 3. O Wunder, daß ein Herz (Recitative: B) 13:19 4. Ein unbegreiflich Licht erfüllt den ganzen Kreis der Erden (Duet: T, B) 15:36 5. O unerschöpfter Schatz der Güte (Recitative: A) 20:55 6. Er ist das Heil und selig Licht (Chorale) 21:37 Soloists: Alto: Ingeborg Danz Tenor: Mark Padmore Bass: Peter Kooy Performed by Collegium Vocale Gent under the direction of Philippe Herreweghe. Recorded by Harmonia Mundi France in 1998. "Bach composed the cantata 'Mit Fried und Freud' for the feast of the Purification on 2 February 1725. Here, the opening chorus is in 12/8 time, which is almost always associated with a peaceful, pastoral mood. Here it is the expressive key of E minor, which, raised to monumental heights, will re-appear in the opening chorus of the St. Matthew Passion. The chorale is sung in long note values by the soprano accompanied by the lower voices of the chorus in densely textured imitation, and which takes up the serenely elegiac movement of the instrumental ritornello theme. Only twice does Bach interrupt the pattern: at the words 'sanft und stille' all the voices drop into a sudden 'piano' and even the lively rhythm of the vocal part gives way to a more tranquil measure. The contrast of the 'forte' on the next words, 'wie Gott mir verheißen hat' is all the more convincing in relation to the preceding words. Once again Bach leads the vocal part into a quiet, even tenor for the final line of the chorale, 'der Tod ist mein Schlaf worden.' " - Thomas Seedorf Painting: Still Life with Three Medlars, Adriaen Coorte