Johann Sebastian Bach (1685-1750)
"Herr Christ, der ein’ge Gottes Sohn", BWV 698
"Nun Komm, der Heiden Heiland", BWV 699
"Vom Himmel hoch, da komm’ ich her", BWV 701
"Gottes Sohn ist kommen", BWV 703
"Lob sei dem allmächtigen Gott", BWV 704
Partita sur "O gott, du frommer Gott", BWV 767
Canzona en ré mineur, BWV 588

Carl Philipp Emanuel Bach (1714-1788)
Sonate en la majeur, Wq 70/1, H 133
Sonate en la mineur, Wq 70/4, H 85
Sonate en sol mineur, Wq 70/6, H 87

Johann Christoph Bach (1642-1703)
Extraits de "44 Choräle zum Präambulieren"

Wilhelm Friedemann Bach (1710-1784)
Fugue en fa mineur, Fk 31 n° 8

Ewa Rzetecka-Niewiadomska, orgue (Orgue Joachim Wagner, Pologne, 1744-1745)

Johann Sebastian Bach (1685–1750), one of the most famous composers of the Baroque era, is already an icon in the history of music. Rediscovered in the 19th century, he still attracts the attention of musicologists researching and studying his work. This extraordinary person evokes curiosity and admiration, while his contribution to the development of music cannot be overestimated. A genius about whom, as it seems, we already know so much, constantly inspires and provokes to in-depth research into his life and musical legacy. Although today our knowledge about this composer and the interpretation of his music is highly advanced, there are still questions and new views on the approach to the genius dormant in the power of the Bach surname, since it does not only concern the master from Leipzig, as is common to say about Johann Sebastian. The musical activity of the Bach family was impressive, and the analysis of the family tree reveals the composer’s solid musical roots. The spirit of genius does not end there as well, as the musical legacy of his sons has also become a permanent part of history.