Francesco Tristano presents his latest single, English Suite No. 6 in D minor, BWV 811 – IV. Sarabande, now available on all streaming platforms.
This single is part of Tristano’s ongoing exploration of Bach’s English Suites, following his previous project, Bach: The 6 Partitas. The full album, Bach: The 6 English Suites, will be released on May 23rd via naïve, a label of Believe Group, under Tristano’s imprint, intothefuture.
Listen to the single here
Francesco Tristano presents a new single, English Suite No. 6 in D minor, BWV 811 – V. Gavotte, available today on all platforms. This release features a refined and rhythmically engaging piece that reflects the nuanced dialogue between dance and structure in Bach’s music, from his upcoming album Bach: The 6 English Suites.
Part of a wider exploration of the English Suites, this interpretation continues the journey that began with Bach: The 6 Partitas. The full album will be released on May 23rd on naïve, a label of Believe Group, under Tristano’s imprint intothefuture.
Play it here.
After a special release in Japan, Bach: The 6 English Suites by Francesco Tristano will be released globally on May 23rd on naïve, a label of Believe Group, under his imprint intothefuture. As a first glimpse into this highly anticipated album, English Suite No. 2 in A minor, BWV 807 – 1. Prélude is available now on all platforms.
Following Bach: The 6 Partitas, the new recording continues Tristano’s deep exploration of J.S. Bach’s keyboard works. With his distinctive style, he brings a dynamic and immersive interpretation, capturing the rhythmic vitality and expressive depth of these suites, composed in the 1710s. Pre-save the album now.
In this playlist, I try to balance the original Baroque Bach, and Bach as recomposed over the centuries. My intention is to include recordings by Bach specialists such as Glenn Gould or Andrew Manze, as well as explore the different ramifications of Bach’s music, specifically in the electronic realm.
The selected tracks are all close to my heart. I love the pure sound of the lute (and this particular interpretation by Konrad Junghänel) just as much as the ambient, layered organ samples by Sutekh. In a way they are very complementary. Yet they only begin to explore the possibilities, and potential, of Bach’s scores.
Play it here