This is Lillian Gordis’s first solo album dedicated to J.S. Bach. Described as a “Martha Argerich of the harpsichord” (ResMusica), the brilliant young Franco-American harpsichordist made a pilgrimage to the famed Doopsgezinde Kerk in Haarlem (NL) to record this monumental double-disk, a highly personal recital program of handpicked Partitas, English Suites and Preludes & Fugues from the Well-Tempered Clavier Book II.
Realizing a childhood dream to record Bach in this mythical space, the highly innovative Gordis immersed herself profoundly in the resonant silence of the little church in Haarlem and emerged with a recital of some of the most complex and sublime keyboard repertoire. A largescale yet deeply intimate project, this album explores the infinite richness and depth of Bach’s music.
For Lillian Gordis, “this soundscape dream is in some way also the sound history that has been the heartbeat of my existence. And in the stopped time that was the year 2020, I had the desire to revisit these childhood loves, to reimmerse myself in the Bach that was there every morning on my music stand and who had been for me the great master of all masters. This need to be in touch with the most profound, the most naïve and the most fundamental elements of oneself seems essential to me in the face of a broken and cataclysmic world. It is the nature of childhood dreams to project for oneself an ideal world in the midst of which we protect our fragile sensibilities, which are often erased by the noise of adult life.”
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