“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.
Techno music entered his life while pursuing his degree at the Juilliard School of New York. 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.