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An unusual program, made up by pieces that can seem far for time and style, but spanned by an unique theme: the unknown, mysticism, everything that the human being can’t know directly.

The best mystical element, it has been written, discussed, imagined about for centuries is Death. For Schubert it  is an entity that follows, runs after, plays with the maiden; for Saint-Saëns at midnight it plays a violin and evokes spirits, skeletons inviting to dance; in “Ombra” by Domenico Turi it appears step by step, almost inadvertently it creeps between the purity of life, and tries to swallow it. It will win the battle with life, but not the war.

But Death can be also pain’s reason, moreover for a teenager that loses his father: so it’s in Messa da Requiem by Runchak, who describes very clearly his suffering for his bereavement.

Very close to the death there is Religion for sure. A very faithful composer was Johann Sebastian Bach. In his Praeludium et Fuga BWV 544 in B min ( the same tonality of his Messa) there are a lot the figurations that refer to Christ: ascents, his tears.

The program is full of mystery, a mosaic of extreme, severe, excruciating, solemn, cryptic sounds that show the great variety of timbre of the Bayan and moreover how universal and timeless feelings give birth in the composers, from Bach to Turi, different emotions, that lead them to leave masterpieces to the umanity.


Goldberg Variations BWV 988, Johann Sebastian Bach

It’s an unicum in music’s history for sure: the highest level of the musical form Theme and Variations full of  talent, of intense expressiveness, absolute genius’ picture.

The will is to give to this great work a different timbre and expressive touch from Harpsicord’s one, creating various colors, bringing out the kaleidoscopic sound universe that is inside, without going away from the musical philology and interfering with the general macrostructure, letting the magnificent Bach’s architecture clear and visible.