Antonio de Cabezón (1510-1566)
Pavana con su glosa

Carl Philipp Emanuel Bach (1714-1788)
12 Variations sur les Folies d'Espagne, H 263, Wq 118/9

Johann Caspar Kerll (1627-1693)
Passacaille

Johann Caspar Friedrich Fischer (1656-1746)
Chaconne

Claude Gervaise (1525-1583)
Pavanne Passemaize

Pierre Phalèse (1510-1575)
Passomezo d'Italye

Girolamo Frescobaldi (1583-1643)
Partita sur l'Air de la Romanesca

William Byrd (1543-1623)
The Bells

Bernardo Storace (?1620-?1664)
Follia

Johann Pachelbel (1653-1706)
Chaconne

Anonyme
Uppon la mi re (attribué à T. Preston)

Eva-Maria Rusche, luth-clavecin (M. Doronin), pianoforte (J. Broadwood, 1796), orgue (J.C. Rindt, 1796 et Kuhn, 1770), clavicorde (Atelier Tevja, d'après J.H. Silbermann, 1775), clavecin (C. Fuchs d'après J. Ruckers, 1624), piano carré (E. Merzdorf), Fender Rhodes, piano droit

With her solo album Tas?? os??na??, Eva-Maria Rusche explores the tonal and stylis??c richness of historical keyboard instruments through the os??nato tradi??on – a musical structure long associated with varia??on, improvisa??on, and closely linked to dance music. Each piece on this recording is performed on a different instrument: lautenwerk, clavichord, fortepiano, square piano, two historical organs, two harpsichords, and even a Fender Rhodes bring the works to life in a wide range of tonal colours. The inherent idea of crea??ve freedom in the use of os??nato is extended to the choice of instruments: alongside historically appropriate period instruments, anachronis??c instrumenta??on is deliberately chosen whenever it serves the expressive needs and character of the music in a par??cularly fi??ng way. The selected works reflect stylis??c and cultural variety, rhythmic vitality, and emo??onal depth – interpreted with stylis??c sensi??vity and expressive nuance.