Fred Thomas, Aisha Orazbayeva, Lucy Railton - J.S. Bach: Three Or One - Transcriptions by Fred Thomas (2021) [Hi-Res]
Artist: Fred Thomas, Aisha Orazbayeva, Lucy Railton
Title: J.S. Bach: Three Or One - Transcriptions by Fred Thomas
Year Of Release: 2021
Label: ECM New Series
Genre: Classical
Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
Total Time: 01:01:15
Total Size: 242 / 525 mb
WebSite: Album Preview
TracklistTitle: J.S. Bach: Three Or One - Transcriptions by Fred Thomas
Year Of Release: 2021
Label: ECM New Series
Genre: Classical
Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
Total Time: 01:01:15
Total Size: 242 / 525 mb
WebSite: Album Preview
01. 6 Choräle von verschiedener Art, BWV 645-650: Ach bleib bei uns, Herr Jesu Christ, BWV 649 (Transcr. Thomas for Piano Trio)
02. Orgelbüchlein, BWV 599-644: Herr Christ, der ein’ge Gottes Sohn, BWV 601 (Transcr. Thomas for Piano Trio)
03. Orgelbüchlein, BWV 599-644: Ich ruf zu dir, Herr Jesu Christ, BWV 639 (Transcr. Thomas for Piano Trio)
04. Orgelbüchlein, BWV 599-644: Durch Adams Fall ist ganz verderbt, BWV 637 (Transcr. Thomas for Piano Trio)
05. Erbarm dich mein, o Herre Gott, BWV 721 (Transcr. Thomas for Piano Trio)
06. Der Herr denket an uns, Cantata BWV 196: Sinfonia (Transcr. Thomas for Piano)
07. Orgelbüchlein, BWV 599-644: Alle Menschen müssen sterben, BWV 643 (Transcr. Thomas for Piano Trio)
08. Orgelbüchlein, BWV 599-644: Der Tag, der ist so freudenreich, BWV 605 (Transcr. Thomas for Piano Trio)
09. Orgelbüchlein, BWV 599-644: Christe, du Lamm Gottes, BWV 619 (Transcr. Thomas for Piano Trio)
10. Orgelbüchlein, BWV 599-644: Liebster Jesu, wir sind hier, BWV 633 (Transcr. Thomas for Piano Trio)
11. Herr, gehe nicht ins Gericht mit deinem Knecht, Cantata BWV 105: Aria "Wie zittern und wanken der Sünder Gedanken" (Transcr. Thomas for Piano)
12. Weichet nur, betrübte Schatten, Cantata BWV 202 "Wedding Cantata": Aria "Weichet nur, betrübte Schatten" (Transcr. Thomas for Piano)
13. O heilges Geist- und Wasserbad, Cantata BWV 165: Aria "Jesu, meines Todes Tod" (Transcr. Thomas for Piano)
14. Allein zu dir, Herr Jesu Christ, Cantata BWV 33: Aria "Wie furchtsam wankten meine Schritte" (Transcr. Thomas for Piano)
15. Wenn wir in höchsten Nöten sein, BWV Anh. II 78: Wenn wir in höchsten Nöten sein, BWV Anh. 78 (Transcr. Thomas for Piano Trio)
16. Gelobet seist du, Jesu Christ, BWV 723 (Transcr. Thomas for Piano Trio)
17. O Gott, Du frommer Gott, BWV 767: O Gott, Du frommer Gott, BWV 767 (Transcr. Thomas for Piano Trio)
18. Orgelbüchlein, BWV 599-644: O Lamm Gottes unschuldig, BWV 618 (Transcr. Thomas for Piano Trio)
19. Orgelbüchlein, BWV 599-644: Jesu, meine Freude, BWV 610 (Transcr. Thomas for Piano Trio)
20. Allein Gott in der Höh' sei Ehr', BWV 711 (Transcr. Thomas for Piano Trio)
21. Orgelbüchlein, BWV 599-644: in dulci jubilo, BWV 608 (Transcr. Thomas for Piano Trio)
22. Orgelbüchlein, BWV 599-644: Gott, durch deine Güte, BWV 600 (Transcr. Thomas for Piano Trio)
23. Orgelbüchlein, BWV 599-644: Das alte Jahr vergangen ist, BWV 614 (Transcr. Thomas for Piano Trio)
24. 6 Choräle von verschiedener Art, BWV 645-650: Meine Seele erhebt den Herren, BWV 648 (Transcr. Thomas for Piano Trio)
On "Three Or One", Bach appears in transfigured light. Fred Thomas’ ECM New Series debut presents organ chorale preludes, vocal cantata movements and orchestral sinfonias – 24 pieces in all – transcribed for trio and solo piano by the British pianist himself. Throughout, Bach’s idiom is thoughtfully explored by three innovative players – a process Thomas describes as "quietly joyful" – and the trio pieces, primarily drawn from Bach’s Orgelbüchlein, acquire a fresh character in the hands of Thomas, violinist Aisha Orazbayeva and cellist Lucy Railton.
Both respectful of the original musical texts but unique in their execution, Thomas’ reformulations strike a rare balance between moderation and innovation. In the process, the pianist draws attention to various techniques used to "separate the voices and avoid the typical blending and blurring of the organ in a church. Particularly interesting to me", he explains, "was to illuminate how the musical characters interact, sometimes stubbornly ignoring one another as they continue their trajectories, other times moving in separate dimensions, unaware of anything but themselves, and often intertwining in a kind of blissful symbiosis".