“He should not be called Bach, but the sea” – this exclamation attributed to Beethoven initially refers to the “inexhaustible wealth” from the pen of Johann Sebastian Bach. But the Thomaskantor passed on his talent: four of his sons became successful composers.

Johann Sebastian Bach himself came from a family of musicians. His second cousin Johann Bernhard Bach also produced a wealth of compositional work as an organist. Unfortunately, little survived, including four overtures. They are designed in the French suite style. The Overture in G minor also combines courtly dance forms from France with Italian virtuosity.

Carl Philipp Emanuel Bach, the Thomaskantor's second eldest son, was a court musician under Prussian King Frederick the Great and interacted with the brightest minds of his time. With the six “Hamburg Symphonies” in 1773, CPE Bach created the sound of “Sturm und Drang”. The 5th Symphony in this group of works surprised everyone with its original twists, harsh dialogues and bold contrasts.

Johann Christian Bach was at the cradle of a genre that would reach great heights in the 18th century: the symphony. Johann Christian's wild G minor Symphony seems to have rubbed off directly on Mozart's early G minor Symphony. Feverish forward thrust, powerful unisons, excited tremolos and long jumps give the outer movements dramatic expression. The minor middle movement also reflects emotional unrest.

Before Johann Sebastian Bach, as St Thomaskantor in Leipzig, dealt primarily with sacred music, his concerts showed him to be at the height of courtly instrumental music. The Concerto BWV 1060 has come down to us in a version for two harpsichords. The original – probably for oboe and violin – has been lost. It was reconstructed around 1920. While the violin often plays fast arpeggios and semiquavers, the oboe sings itself out in cantilenas. The striking first movement is followed by a tender dialogue over a long-winded melody. Here the two solo instruments float in dreamy absorption above the reserved accompaniment. The final Allegro is again playful and virtuosic with its angular, energetic theme.

Bernhard Forck and the Neue Philharmonie Westfalen are now honoring the Bach family with their recording “Bäche”. Since 2014, the orchestra and the concertmaster of the Berlin Academy of Early Music have enjoyed a close artistic and friendly collaboration. Numerous concerts and, last but not least, the joint recording available now bear witness to the fruitful partnership.