For those unaware, Francesco Tristano was thrilled to sign a new licensing deal for his newly minted record label intothefuture, with Näive Records – a division of Believe International.

The label was created for the purpose of publishing Tristano’s own recordings and started last year with the regional exclusive release of Bach’s English & French Suites.

The new global partnership with Näive commences with the release of “Sarabande” on September 27th. This is the 1st single from the forthcoming full album – Bach the 6 Partitas, which will be released on November 8th, 2024.

While at Juilliard, Francesco laid the groundwork of his ambitions as an interpreter of Bach’s music: he played and recorded the Piano Concertos with his ensemble The New Bach Players, as well as recording the Goldberg Variations (found on the small Accord label) on his own.

Shortly after, he was signed by the French label Infiné, where he released his first records blending electronica and piano: Not for Piano (2007), where he created versions of techno anthems like Jeff Mills’ The Bells or Derrick May’s Strings of Life on the piano; Auricle Bio On (2008), where the piano is conceived as a sampler; and Idiosynkrasia (2010), in which he seamlessly joined his virtuosity on the keys and his programming prowess, refining his concept of “Piano 2.0,” where the instrument reaches a new textural iteration through the use of computers.

Tristano’s big leap took place in 2011, when he was signed by Deutsche Grammophon, with whom he recorded three programmes inspired by his ascent as a concert pianist of international acclaim.

In 2017, Francesco Tristano began his collaboration with Sony Classical, focusing his efforts on releasing his own work in a new phase as a recording artist.

And still, at the edge of the horizon, Francesco Tristano’s great life project, the one he will never abandon, continues to take shape: to record Johann Sebastian’s Bach complete repertoire. As Berg said, “music is music”, and Bach will always be there because he was the only creator ever to transcend it.

Johann Sebastian Bach, Partita No. 1 in B-Flat Major, BWV 825
I. Praeludium
II. Allemande
III. Corrente
IV. Sarabande
V. Menuett I
VI. Menuett II
VII. Giga

Johann Sebastian Bach, Partita No. 2 in C Minor, BWV 826
I. Sinfonia
II. Allemande
III. Courante
IV. Sarabande
V. Rondeaux
VI. Capriccio

Johann Sebastian Bach, Partita No. 3 in A Minor, BWV 827
I. Fantasia
II. Allemande
III. Corrente
IV. Sarabande
V. Burlesca
VI. Scherzo
VII. Gigue

Johann Sebastian Bach, Partita No. 4 in D Major, BWV 828
I. Ouverture
II. Allemande
III. Courante
IV. Aria
V. Sarabande
VI. Menuett
VII. Gigue

Johann Sebastian Bach, Partita No. 5 in G Major, BWV 829
I. Preambulum
II. Allemande
III. Corrente
IV. Sarabande
V. Tempo di Minuetto
VI. Passepied
VII. Gigue

Johann Sebastian Bach, Partita No. 6 in E Minor, BWV 830
I. Toccata
II. Allemanda
III. Corrente
IV. Air
V. Sarabande
VI. Tempo di Gavotta
VII. Gigue

This magnificently-hued, and delightfully absorbent new recording opens on Johann Sebastian Bach’s Partita No. 1 in B-Flat Major, BWV 825, and first the opulent Praeludium, the confident Allemande, and the vibrant Corrente, then we get the ornately-hued Sarabande, the playful Menuett I, the cultured Menuett II, closing on the gently frenetic Giga.

Up next is Bach’s Partita No. 2 in C Minor, BWV 826, which begins with the delicate Sinfonia and the flourishing Allemande and then brings us the gorgeous Courante, the majestic Sarabande, and both a perky Rondeaux and, in closing, a prosperous Capriccio.

Then we get brought forth Bach’s Partita No. 3 in A Minor, BWV 827, which itself opens on the resplendent Fantasia before moving to the sweeping Allemande, the playful Corrente, the regimented Sarabande, the sterner fare of Burlesca, closing on both the fiery Scherzo and the poignant Gigue.

Along next is Bach’s Partita No. 4 in D Major, BWV 828, which leads with the decadence of Ouverture and the alluring Allemande, before we get the triumphant Courante, the bright Aria, a simply magical Sarabande, the feisty Menuett, closing on the lively Gigue.

Up next is Bach’s Partita No. 5 in G Major, BWV 829, which opens on the bubbly fare of Preambulum and the free flowing Allemande and then brings us the sparkling Corrente, the thoughtful Sarabande, the animated Tempo di Minuetto, closing on both the elegant Passepied and the cheerful Gigue.

Then comes Bach’s Partita No. 6 in E Minor, BWV 830, which opens on the decidedly opulent Toccata and the glittering Allemanda, and is in turn backed seamlessly by the spirited Corrente, a scintillating Air, the polished beauty of Sarabande, the stately Tempo di Gavotta, the lavishness displayed within Gigue bringing the collection to a divine conclusion.

Official Purchase Links

www.francescotristano.com