Artist: Benjamin Alard Title: J.S. Bach: The Complete Works for Keyboard, Vol. 5, "Toccata & Weimar 1708-1717" Year Of Release: 2021 Label: harmonia mundi Genre: Classical Quality: FLAC (tracks) / 24bit-96kHz Total Time: 03:04:38 Total Size: 3.59 GB Tracklist: CD1 1. Toccata in D Minor, BWV 565 (7:39) 2. "Wo Gott der Herr nicht bei uns hält", BWV 1128 (Chorale Prelude) (5:11) 3. "Liebster Jesu, wird sind hier", BWV 731 (Chorale Prelude) (1:54) 4. "Liebster Jesu, wird sind hier", BWV 730 (Chorale Prelude) (1:18) 5. Prelude and fugue in C Major, BWV 545a (Early version) (5:24) 6. "Jesu, meine Freude", BWV 713 (Chorale Prelude) (4:59) 7. "Christus, der uns selig macht", BWV 747 (Chorale Prelude) (3:58) 8. "Herzlich tut mich verlangen", BWV 727 (Chorale Prelude) (1:46) 9. "Liebster Jesu, wird sind hier", BWV 706 (Chorale Prelude) (2:14) 10. Prelude and Fugue in A Minor, BWV 543 (Early version BWV 543/1a for the Prelude) (9:04) 11. Fantasia super "Christ lag in Todesbanden", BWV 695 (3:28) 12. Trio in D Minor, BWV 528/2a (Early version) (4:25) 13. Toccata and Fugue in F Major, BWV 540 (13:16) CD2 1. Toccata in C Minor, BWV 911 (11:04) 2. Prelude and Fugue in A Major, BWV 536a (6:51) 3. Fantasia and Fugue in A Minor, BWV 904 (7:58) 4. Toccata in F-Sharp Minor, BWV 910 (11:25) 5. "Sei gegrüsset, Jesu gütig", BWV 768 (Chorale Partita) (10:25) 6. Toccata and Fugue in D Minor, BWV 538 (12:41) CD3 1. Toccata in G Major, BWV 916 (8:52) 2. Concerto in G Minor, BWV 985 (After Violin Concerto by Georg Philipp Telemann): I. Allegro (2:54) 3. Concerto in G Minor, BWV 985 (After Violin Concerto by Georg Philipp Telemann): II. Adagio (2:02) 4. Concerto in G Minor, BWV 985 (After Violin Concerto by Georg Philipp Telemann): III. Allegro (2:16) 5. Nun komm, der Heiden Heiland, BWV 699 (Fughetta) (1:13) 6. Vom Himmel hoch, da komm ich her, BWV 701 (Fughetta) (1:15) 7. Gelobet seist du, Jesu Christ, BWV 697 (Fughetta) (0:58) 8. Das Jesulein soll doch mein Trost, BWV 702 (Fughetta) (1:45) 9. Gottes Sohn ist kommen, BWV 703 (Fughetta) (0:42) 10. Lob sei dem allmächtigen Gott, BWV 704 (Fughetta) (0:55) 11. Christum wir sollen loben schon, BWV 696 (Fughetta) (1:20) 12. Herr Christ, der einig Gottes Sohn, BWV 698 (Fughetta) (1:15) 13. Concerto in B-Flat Major, BWV 982 (After Johann Ernst of Saxe-Weimar's Violin Concerto, Op. 1 No. 1): I. Allegro (2:24) 14. Concerto in B-Flat Major, BWV 982 (After Johann Ernst of Saxe-Weimar's Violin Concerto, Op. 1 No. 1): II. Adagio - Allegro (3:45) 15. Concerto in B-Flat Major, BWV 982 (After Johann Ernst of Saxe-Weimar's Violin Concerto, Op. 1 No. 1): III. Allegro (1:54) 16. Concerto in D Minor, BWV 987 (After Johann Ernst of Saxe-Weimar's Concerto, Op. 1 No. 4): I. Adagio - Presto - Adagio - Presto - Grave (2:05) 17. Concerto in D Minor, BWV 987 (After Johann Ernst of Saxe-Weimar's Concerto, Op. 1 No. 4): II. Un poco allegro (2:19) 18. Concerto in D Minor, BWV 987 (After Johann Ernst of Saxe-Weimar's Concerto, Op. 1 No. 4): III. Adagio (0:31) 19. Concerto in D Minor, BWV 987 (After Johann Ernst of Saxe-Weimar's Concerto, Op. 1 No. 4): IV. Vivace (1:24) 20. Gelobet seist du, Jesu Christ, BWV 722 (Passaggio Chorale) (1:09) 21. Lobt Gott, ihr Christen, allzugleich, BWV 732 (Passaggio Chorale) (1:10) 22. In dulci jubilo, BWV 729 (Passaggio Chorale) (2:24) 23. Vom Himmel hoch, da komm ich her, BWV 738a (Early version) (Passaggio Chorale) (1:02) 24. Prelude and Fugue in A Minor, BWV 895 (3:05) 25. Concerto in C Minor, BWV 981 (After Benedetto Marcello's Concerto, Op. 1 No. 2): I. Adagio (2:03) 26. Concerto in C Minor, BWV 981 (After Benedetto Marcello's Concerto, Op. 1 No. 2): II. Vivace (2:06) 27. Concerto in C Minor, BWV 981 (After Benedetto Marcello's Concerto, Op. 1 No. 2): III. Adagio (2:04) 28. Concerto in C Minor, BWV 981 (After Benedetto Marcello's Concerto, Op. 1 No. 2): IV. Prestissimo (5:08) With this volume 5, Benjamin Alard closes the trilogy dedicated to the Weimar period. Here we reach the toccatas, preludes, fantasies and fugues that show the extent to which Bach now mastered French and Italian influences, only to emancipate himself from them and compose in complete freedom. An unexpected instrument makes its first appearance in this complete recording played on the finest historical keyboards: the clavichord, perfectly at home alongside the organ and the harpsichord