Francesco Tristano plays Stravinsky 3 movements from Petrushka

Let’s take a little interlude to appreciate the other side to what this DJ has to offer, Francesco Tristano plays for our listening pleasure Stravinsky’s movements from Petrushka.

” Following a very classical course – from music academies to philharmonic orchestras – Francesco Tristano’s trajectory was to change radically when he became a student, in the early 2000s, at The Juilliard School in New York. It was also around this time that he discovered the city’s clubs, a whole parallel world: electronic music. A new avenue to explore, which Francesco, always hungry for experience, would rush into, shunning the beaten track. This new horizon he had discovered, and continues to pursue to this day, was the promise of a truly liberated form of music, impossible to narrow down to one (or more) specific genre(s); a kind of music that would also let the piano resonate differently, in the radiance of a new-found modernity.

In February 2005, a performance at the Bouffes du Nord (in Paris), rounded off by a dazzling version of Derrick May’s Strings Of Life, was to lead directly to the birth of the inFine´ label, which adopted an unconventional line from the outset, in tune with Francesco’s approach.
Since then, three solo albums have been released – Not For Piano (2007), produced by Murcof and Auricle Bio On (2008), mastered by Moritz Von Oswald – and Idiosynkrasia (2010) as well as ‘Aufgang’ (2009)’, a trio formed by Francesco, Rami Khalife´ and Aymeric Westrich, who met during the New York years. At the crossroads of numerous musical sources – from techno to classical/contemporary music, not forgetting ambient – each record takes pathways that are both specific and convergent, leading into a realm of perpetual motion (a Tristanoman’s land?).

The tireless explorer that is Francesco Tristano returns this fall with a new solo album whose title, Idiosynkrasia, is an artistic manifesto. Fundamentally polychromatic, evolving ceaselessly from one mode to the next, Idiosynkrasia nevertheless proves to be perfectly coherent and reveals, in fine, an extra-large conception of music.
‘I’m more and more convinced that there are no limits to music: one can always go one step further…’ “