An album dedicated to Johann Sebastian Bach piano solo, follows Alexandre Tharaud’s very original Four Hands project
The protean French pianist Alexander Tharaud brings a programme concentrating on Bach on the piano – in this instance mostly in his own transcriptions such as the Lute Suite BWV 996, the Johannes-Passion BWV 245.
Tharaud also presents Bach's: Sicilienne BWV 1031, the famous Bach/Gounod Ave Maria and the Adagio from the Keyboard Concerto BWV 974, after Alessandro Marcello Adagio.

An album fans have been waiting for: the legendary Hilliard Ensemble singing seven works that are widely considered to be the peak of vocal music - J.S. Bach's motets. These pieces form an important part of the standard repertoire of all major vocal groups, and the accessible and well-known music will attract audiences beyond core classical listeners. Pieces like "Singet dem Herr nein meues Lied" and "Jesu meine Freude" are among the most popular compositions by Bach, while "Ich lasse dich nicht, du segnest mich denn" has only recently been acknowledged as an authentic work by Bach. Previous albums from the Hilliard Ensemble featuring the music J.S. Bach, Ricercar and the hit recording Morimur, have sold incredibly well. On this album, the four core Hilliard members (James, Harrold, Covey- Crump and Jones) are joined by four long-standing musical partners for a perfectly balanced and transparent interpretation. For more than 30 years the Hilliard Ensemble has been known as one of the most outstanding vocal groups in the world. Their collaboration with ECM Records began in 1986 and has produced several of the label's signature recordings - Officium (with Jan Garbarek), Morimur, Gesualdo: Tenebrae and many recordings of the music of Arvo Pärt. Recent recordings of music from Machaut (Grammy nominated) and Gombert have met with unanimous critical praise.

the differences between Johann Sebastian Bach and John Cage are obvious. They are so obvious that you could be tempted to think that Tristano consciously decided on a high-contrast album programme. Which is certainly true to an extent. Only in the case of bachCage, the artist wasn’t out for provocation just for the sake of it. In fact, this album begins to unfold only at the second and third glance. In the foreground is Tristano’s idiosyncratic and very personal handling of his musical pioneers, Bach and Cage. In all of his precise interpretation of Bach, the music is very much alive and sounds conspicuously wiry and percussive. Probably in part due to the recording’s metallic, occasionally tough sound. Production partner Moritz von Oswald’s involvement becomes even more apparent in Tristano’s Cage recordings. Preparation of the instrument has given way to post-processing aided by studio technology subtly added by Von Oswald and Tristano. And so, the sound of Tristano’s dreamy interpretation of John Cage’s In a Landscape brings to mind distant Gamelan music echoes. The interludes by Tristano himself have a fey and disembodied effect due to the targeted use of reverb effects, and – thanks to filter technology – the final Bach Menuet II from French Suite no. 1 features the sound of a musical clock.
Another, deeper aspect comes to bear on this album, because his subjective choice of pieces sees Francesco Tristano organically blend Bach and Cage, blurring borders while emphasising shared elements. One of these being that both masters are connected by a mathematically oriented approach to composition. Tristano’s selection of pieces and their sequence, some of which has been tested in a live context, are based on tonal convergence, on cyclical structures and their polyphonic construction as duets. Tristano has also found spiritual common ground in both composers, which he conveys through his own compositions.
Perhaps Tristano is one of the first representatives of a new generation of musicians who no longer belong to a specific school. This generation also takes advantage of the fact that practically the whole repertoire of all music ever recorded is available on the Internet. The most diverse kinds of music stand alongside each other, taken out of their typical context and available in some would say, a more democratic form. Tristano makes use of this, stamping his mark on the world of music and providing a fresh and unique sound, unlike anything that has been heard before.

日本钢琴家藤田真央可谓是一位独特的音乐奇才。他将自己的这张 EP《Bach Transcriptions》分为对比鲜明的两个部分，第一部分由三首 Alexander Siloti 改编的轻柔曲目开启。藤田真央以令人惊赞的技巧和富有张力的控制来表达巴赫的主题，伴奏则毫不费力地荡漾其中。

在第二部分，藤田演奏了《第三小提琴独奏组曲》（Partita No. 3 for solo violin）的三个乐章，谢尔盖 · 拉赫玛尼诺夫的改编版本为乐曲更增几分诗意。每一首都将藤田的抒情风格展现得淋漓尽致：顽皮的《加沃特舞曲》（Gavotte）令人十分愉悦，而最后的《吉格舞曲》（Gigue）则十分有戏剧感，同时又纯粹而活泼，宛若游戏。