- Partita for solo violin No. 3 in E major, BWV 1006: Preludio
- Orchestral Suite No. 3 in D major, BWV 1068: No. 2. Air
- Cantata No. 140, "Wachet auf, ruft uns die Stimme," BWV 140 (BC A166): "Sleepers Awake"
- Minuet for keyboard No. 1 in G major (AMN II/1; by Christian Pezold, not JSB), BWV Anh. 114
- Musette for keyboard in D major (AMN II/22; doubtful), BWV Anh. 126
- Bist du bei mir, aria arranged for voice & continuo (after Gottfried Stölzel), BWV 508
- March for keyboard in D major (by CPE Bach, not JSB; Anna Magdalena Clavier-Büchlein No. 2/16), BWV Anh. 122
- Prelude and Fugue, for keyboard No. 17 in A flat major (WTC I/17), BWV 862 (BC L96): Preludium
- English Suite, for keyboard No. 3 in G minor, BWV 808 (BC L15): Gavotte
- Cantata No. 82, "Ich habe genug," BWV 82 (BC A169): Aria
- French Suite, for keyboard No. 5 in G major, BWV 816 (BC L23): Gavotte
- French Suite, for keyboard No. 5 in G major, BWV 816 (BC L23): Gigue
- Toccata and Fugue, for organ in D minor, BWV 565 (BC J37)
- Orchestral Suite No. 2 in B minor, BWV 1067: Badinerie
- In dulci jubilo (IV), chorale prelude for organ (by Johann Micheal Bach, not J.S.), BWV 751
- Cantata No. 147, "Herz und Mund und Tat und Leben," BWV 147 (BC A174): "Jesu, Joy of Man's Desiring"
- Ein feste Burg ist unser Gott (I), chorale setting for 4 voices, BWV 302 (BC F53.1)
- St. Matthew Passion (Matthäuspassion), BWV 244 (BC D3b): Erbarme Dich
- Cantata No. 156, "Ich steh mit einem Fuss im Grabe," BWV 156 (BC A38): Sinfonia
- Fugue for organ in G minor ("Little"), BWV 578 (BC J66)
- Brandenburg Concerto No. 2 in F major, BWV 1047: 3. Allegro assai
- Italian Concerto, for solo keyboard in F major (Clavier-Übung II/1), BWV 971 (BC L7): Presto
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This is among the more successful entries in Sony's (Insert Name of Great Composer Here) Collection series, and the new listener to classical music will generally enjoy it. The music included leans pretty far in the direction of Bach's great tunes as opposed to his dizzying intellectual accomplishments, his total mastery of harmony, or his profoundly dramatic understanding of religious faith, to take a few more possible entry points. But among all the riches of Bach you have to start somewhere. The performances included are a bit more modern than those on other discs in the series, and even where music has been arranged for different instruments than those Bach had in mind, the results mostly spring from long-established performance traditions; it seems a shame not to have the "Toccata and Fugue in D minor, BWV 565," in its famous and original organ version, but the arrangement by faux-Polish conductor Leopold Stokowski (though of Polish background he was English as they come, and his ruse extended to walking by Big Ben and saying, "Nice clock. What's it called?") is nicely rendered by one of today's top orchestras -- the Los Angeles Philharmonic, under its Finnish conductor Esa-Pekka Salonen. A few things break the mood. The Philadelphia Orchestra bludgeons the "Anna Magdalena Bach Notebook," a set of delightful short teaching pieces written for a single keyboard, into submission, and the mastering of these selections is inadequate; the dynamic level is too low. The "Sinfonia" movement from the "Cantata No. 156, Ich steh mit einem Fuß im Grabe" (I'm Standing with One Foot in the Grave), ends awkwardly on a dominant cadence, with the next track beginning in a different key. But some of the sequencing is nicely chosen -- Hilary Hahn's elegant new version of the Preludio movement from the "Partita No. 3 in E major for unaccompanied violin, BWV 1006," is a great curtain-raiser -- and the notes by Jackson Braider aptly sketch Bach's life as a working musician. There are other places to start with Bach that show what he sounds like played on instruments of his own time (try the driving, sinewy, flashing set of the so-called "Brandenburg Concertos" recorded by the ensemble Concerto Italiano and its conductor Rinaldo Alessandrini for an approach completely different from the Brandenburg movement included here). But this disc does live up to its claim to present Bach's "greatest hits" -- some of them, at least.