Moving from the harpsichord to the clavichord or the organ was probably easy enough for Johann Sebastian Bach. The source of the sound didn’t matter, because for the master of Leipzig, what counted were thought and intellect: the form, tonality and melodic contours were more important than the instrument itself. And indeed, through this work of musical thought, Bach used different keyboards, prefiguring the instruments to come: the piano as a synthesis of the harpsichord, the organ and the clavichord.

Bach was aware of exchanges between the different European schools, which allowed musicians to copy, transcribe and adapt the work of contemporaries. Bach did this with his own scores, as well as those of his colleagues. Over the centuries, Busoni, Siloti, Kempff and Kurtàg amongst other have transformed the magic of the organ, orchestra and choruses of the cantatas to the piano.

And now, Ensemble Contraste presents its own vision of the Cantor: a school of freedom that never betrays his conception and allows the beauty, rigorous construction and triumphant polyphonies to shine through.

"La Dolce Volta, a new French classical music label whose outstanding production values include big, bold sound and cerebral liner notes laid out in cerebral, hip typography" Strings