Johann Sebastian Bach (1685-1750)
Toccata et fugue en ré mineur, BWV 565
Invention 8 en fa majeur, BWV 779
Invention 4 en ré mineur, BWV 775
Invention 13 en la mineur, BWV 784
Prélude et fugue n° 3 en do dièse majeur, BWV 848
Prélude de la suite pour violoncelle n° 1, BWV 1007
Allemande de la suite Française n° 5, BWV 816
Aria, Variations Goldberg, BWV 988
Sarabande de la Cantate "Jesu, Joy of Man's Desiring", BWV 147
Choral "Ich rufe zu Dir Herr Jesu Christ", BWV 639
Gigue de la Partita n° 1, BWV 825

Christoph Willibald Gluck (1714-1787)
Extraits de "Orphée et Eurydice"

Antonio vivladi (1678-1741)
Concerto n° 1 en mi majeur, RV 269 "La Primavera"

Georg Friedrich Haendel (1685-1759)
Suite en ré mineur, HWV 437

George Gershwin (1898-1737)
I Got Rhythm

Charl du Plessis Trio

Charl du Plesis, piano
Werner Spies, basse
Hugo Radyn, batterie

Crossover music has (in my opinion) become the step-sister of jazz and world music alike and is met by some listeners with trepidation. After further listening and exposure of live and recorded performance of this unique style of music I have seen its power to convince even the most stern classic music lover to enjoy jazz and equally so convert the jazz buff to respect classical music. I am grateful to have had a long relationship with the beautiful Ernen and the memories of the teaching I experienced there from prof György Sebök. Later the many concerts that followed introduced me to the friendly audiences that this most picturesque of Swiss villages attract. The vision of Francesco Walter to introduce a jazz concert in the Baroque week made it possible to be creative within this structured framework and experiment with form, rhythm and new arrangements of timeless music with my trio as vehicle. For the Baroqueswing volume 2 album I wanted to adhere to the sophisticated method of musical treatment where the inherent rhythmic identity of the original score, as well as the stylistic performance practice principals receive the utmost respect from us as improvisers and from me as arranger. The result is a refreshing combination of ultimate structure and the unpredictable energy of live improvisation. This experience is defined by the energy of the audience and the moment of musical creation propels Hugo to be the sensitive and complimentary drummer with his unique dynamic timbres and inspire Werner to utilize the acoustics and form the basis of our harmonic landscape. The Steinway becomes my voice as I try to extemporize on the original Baroque content in a new and personal way. As a trio we lock in thought and musical motion to try and contribute to the unique soundscape created in Ernen. It is my wish that the time spent listening to this music will entertain, enrich and extend the musical imagination of each listener, as if they were in the Church on that special day. (Charl du Plessis)