Francesco Tristano’s recordings attempt to embrace a broad spectrum too; for Deutsche Grammophon he developed programs based on Cage and Bach (“Bach/Cage”, 2011), Buxtehude and Bach (“Long Walk”, 2012), Ravel and Stravinsky in “Scandale” (2014). Then also, for the French label Infiné he has developed his own compositions where the main ingredients are rhythmic experimentation, abstract texture and a unique sensation of freedom. Although it can seem as a contradictory method, almost bipolar, in reality, there is a very direct – however tenuous – line that connects Bach with techno music; the dance rhythm, harmony and order you may find in Bach are very much alive in pop music. There is a familiar energy, and also a rigid and intense sense of groove.

Techno music entered his life while pursuing his degree at the Juilliard School of New York. During the day, he would lead The New Bach Players through their Bach readings, and at night, the city’s clubs would introduce him to house and techno music. In “Not for piano” (2007), he published his own compositions as well as piano versions of Detroit anthems such as, “The Bells” (Jeff Mills) or “Strings of Life” (Derrick May). A year later, with “Auricle Bio On” (2008), he introduced the sound of the piano and use it simultaneously as a sampler and synthesizer. In fact, with the release of “Idiosynkrasia” (2010) Francesco accomplished the synthesis of both languages; digital virtuosity and rare electronic textures, which he would claim as ‘Piano 2.0’.

Alongside with his career in electronic music, he has simultaneously continued to grow as a classical pianist with a repertoire half way between baroque (mainly Bach and before) and twentieth and twenty first century music, organizing his programs as if they were “playlists”, which is how he likes to define them. Francesco Tristano is expanding, driven by his genuine open-minded attitude and his increasing knowledge of techno. After finalizing Aufgang – two pianos and drums with a dose of deep house –, his next endeavours lead him again to his version of techno. laying the foundations of a vast and untamed aesthetic.

Music is music and whether it is baroque or modern, dance or ambient, it attempts to connect with mind and body, to the euphoric and the sublime.

“Music is music”. This is what Alban Berg responded to George Gershwin in Paris during the spring of 1928, as to why there was no distinction between what we consider “educated” music and “popular” music. Francesco Tristano has endorsed this quote over the last decade with his work; combining piano and synthesizer, between the scores of Johann Sebastian Bach – and also Frescobaldi, Berio, Buxtehude, Stravinsky, and Gershwin, among others – and the latest production and sequencing tools. The differences between a piano recital – or a classical score – and a techno track are very noticeable, however, whether it is written on paper, uploaded to a computer or improvised live; music is music regardless of its style; electronic or baroque, dance or avant-garde.

A young musician and composer causing a stir on the club scene as well as in classical concert venues is probably a world-first. It may also be the first time that purists from the classical and techno camps actually agree on something – That they don’t know quite what to make of this young musician who refuses to stick to the rules. For Francesco Tristano this kind of reaction is nothing new. Experienced concert audiences and classical music lovers may feel equally baffled when they hear a pianist blend and mix his own composition – just like a DJ – into a piece by baroque composer Girolamo Frescobaldi…

The intrepidness with Francesco Tristano combines eras and styles, occasionally allowing them to collide, may initially create a baffled response. However, Luxembourg-born Tristano has no aspirations as an agitator. Almost everything he does is an expression of an open-minded attitude which refuses to accept borders and constrictions. Tristano knows all about the interpretational conventions that have shaped generations of classical pianists – and he has chosen to ignore them. He does not seek approval as an artist and when his dynamic performance emotively basks in the intrinsic severity of Old music – that’s when he’s truly radical.

Tristano, born in 1981, discovered the piano at the age of five. Aged 13, he played his first concert, presenting his own compositions. He later toured both as a soloist and with renowned orchestras, such as the Russian National Orchestra, the Deutsches Symphonie-Orchester Berlin, and the Hanoi Philharmonic Orchestra among others. Tristano founded his chamber ensemble, The New Bach Players which he also conducts. This ensemble consciously breaks with conventions, using a modern grand piano and old, vibratoless bows on contemporary string instruments.

Tristano visited New York’s Juilliard School during five years. The city of New York opened his ears to electronic and club music. to complete Bach legend Rosalyn Tureck’s master class. In 2004, he won the first prize at the International piano competition for contemporary music in Orléans, France. Tristano has released twelve albums, among them recordings of Bach Goldberg Variations and complete keyboard concertos, Luciano Berio complete piano works, and Girolamo Frescobaldi Toccatas. ‘Not for Piano’ (inFine, 2007), presented his own compositions as well as versions of techno classics at the piano. ‘Idiosynkrasia’ (inFine, 2010), recorded at Carl Craig’s Planet E-communications in Detroit, was released to critical acclaim in 2010. ‘bachCage’, produced by Moritz von Oswald, was released on DGG in 2011. Tristano is a Deutsche Grammophon artist and he just released his third album “scandale” with Alice Sara Ott on that label. His collaborative tracks and remixes have been released on labels such as Innervisions, CLR, Visionquest, PIAS and Infine.