Carl Philipp Emanuel Bach (1714-1788): Solfeggietto in C minor H 220, Wq 117:2 (fortepiano)
Gottfried Heinrich Stölzel (1690-1749): Aria 'Bist du bei mir' (arr. for voice and continuo by J. S. Bach, BWV 508)
Carl Philipp Emanuel Bach (1714-1788): Duet in E-flat major H 613, Wq 115:4 (fortepiano)
Johann Sebastian Bach (1685-1750): Trio Sonata No. 3 in D minor BWV 527 (ensemble)
- Chorale Prelude & Chorale 'Wer nur den lieben Gott läßt walten' (voice & harpsichord)
- Fantasia & Fugue in C minor BWV 562 (organ)
- Trio Sonata No. 6 in G major BWV 530 (organ)
Carl Philipp Emanuel Bach (1714-1788): Sonata in B-flat major H 32, Wq 49:4 (ensemble)
- Lied 'Lyda' H 737, Wq 202g:2 (voice & ensemble)
- Lied 'Phyllis' H 710, Wq 202c:2 (voice & fortepiano)
Wilhelm Friedemann Bach (1710-1784): Preludio in C minor F. 29 (organ)
Johann Sebastian Bach (1685-1750): Choral 'Ich ruf zu dir Herr Jesu Christ' BWV Anh. II 73 (organ - arr. by C. P. E. Bach)
Wilhelm Friedemann Bach (1710-1784): Fantasia in D minor F. 19 (organ)
Johann Sebastian Bach (1685-1750): Fantasia in C minor BWV 906 (harpsichord)
Carl Philipp Emanuel Bach (1714-1788): Keyboard Trio in E minor H 531, Wq 91:1 (ensemble)
Johann Sebastian Bach (1685-1750): Musical Offering BWV 1079 - Ricercar a 3 (fortepiano)

Louis-Noël Bestion de Camboulas
- Organ by Gottfried Silbermann (ca. 1710-1714), Dom St. Marien, Freiberg
- Harpsichord by Jonte Knife and Arno Pelto (Helsinki, 2002), after an 18th century German instrument
- Fortepiano by Andrea Restelli (Milan, 2014), after Gottfried Silbermann

Marc Mauillon (Baritone)

Ensemble Les Surprises
- Gabriel Grosbard (Violin)
- Marie Rouquié (Violin)
- Juliette Guignard (Viiola da gamba)
- Clément Geoffroy (Harpsichord)

The concept behind this new recording suggests a large family gathering, including friends, during which all members are encouraged to display their musical talents and/or showcase their new instruments. Solo or ensemble efforts, one and all join in and contribute to the conviviality of the day. Johann Sebastian coaxes his sons to partake and reveal what they've learned, and of course Gottfried Silbermann, a good friend of the family, invites everyone to try out his latest inventions.

The booklet notes better express this: "In the Bach clan, music was a family affair; the same was true of the Silbermanns with respect to the art of making keyboard instruments (organs, harpsichords, spinets, fortepianos). In Johann Sebastian Bach's household, this took on quite exceptional proportions, since not only did his entire family make music (his wife Anna Magdalena was an excellent singer, his many children were all accomplished instrumentalists and, in some cases, composers who left their mark on history), but he also had pupils who lived with him and whose education he took in hand. The same is true of the Silbermanns, who influenced musicians with their magnificent instruments and organological innovations, both in Saxony and in Alsace. The first of the dynasty were two brothers, Andreas and Gottfried, who also had many pupils: Gottfried Silbermann's students were known as 'the twelve apostles'. They were excellent keyboard instrument makers who helped to spread the new fortepiano throughout Europe. Johann Sebastian Bach and his sons knew and appreciated Gottfried Silbermann's instruments."

And for me, the heart of this reunion of sorts, is when partway through, the magnificently distinctive sound of the baroque Silbermann pipe organ is first heard during the expressive performance of the Fantasia & Fugue in C minor. It immediately conveys Johann Sebastian Bach's groundbreaking and visionary musical intellect, which as we all know, altered the course of musical history and development. The Trio Sonata No. 6 in G major which follows, further accentuates Bach's straightforward and yet complex contrapuntal writing. Multifaceted artist Louis-Noël Bestion de Camboulas lends the music a highly authentic feel which draws you back 300 years, and sets you inside the church of St. Marien with Bach himself sitting at the organ.

The impression left behind by this concept, and by the musicians involved in its delivery, goes well beyond the family and extends to the whole of 18th century social and musical life. The confluence of Italian, Flemish, English, French and German arts at the time, paved the way for music to eventually spread around the globe. After listening to this CD, you come away feeling like you've read a page from the annals of history, not only musical, but human history as well.