Prisme

Prism, these are the infinite facets of a reality that we create or taste at every moment. Like a score, life leads us to realise the performer that we are. Being and becoming! This is all evolution. In my opinion, Bach's music represents the very essence of this encounter between perfection and spontaneity, between creation and recreation (or recreation!), between fullness, freedom and skilful geometry. Any truth, far from being serious, is perhaps a dance movement, on the contrary. Improvisation was the prerogative of musicians in the Baroque era. It is through this prism and all the others that appeared to me (ornamentation, variations, harpsichord, piano, orchestra...) that I wanted to make this programme, like a journey to the origins of who we are - humbly and eternally present: the one who, having believed he knew, continues to search. What if infinity were a game?

Hélène Tysman

Reviews on... -> Classica - Presse Agence - Zibeline - Putsch - Diapason - Radio Coteaux

Jean-Sébastien BACH (Eisenach, 1785 - Leipzig, 1750)

Fantaisie chromatique & Fugue en ré mineur BWV 903 (1717)
Clavier bien tempéré, Livre I - Prélude & Fugue en do majeur BWV 846 (1722)
Partita n°1 en si bémol majeur BWV 825 (1726)
Clavier bien tempéré, Livre I - Prélude & Fugue en mi majeur BWV 854 (1722)
Concerto italien en fa majeur BWV 971 (1735)
Clavier bien tempéré, Livre I - Prélude & Fugue en mi bémol mineur BWV 853 (1722)
Fantaisie & Fugue en la mineur BWV 944 (1708)
Prélude en si mineur BWV 855A (1722) / transcription d'Alexandre Siloti (1912)

Hélène Tysman, piano