Édouard Lassen never stopped composing. His copious oeuvre contains examples of almost every genre in favour in the second half of the 19th century, from piano pieces to operas, choral works, symphonic and concertante pieces. His international reputation was secured especially by his theatrical works. He also produced a regular and uninterrupted flow of over 260 songs from 1857 until his death in 1904. The small-scale song form was ideally suited to his temperament imbued with universalism, assuming a dual cultural heritage.

The three sections of this Triptych can be described as follows: the left-hand panel — Misery — depicts the vale of tears; Transitio on the right-hand panel represents a transformation in everyday life, whilst Transfiguratio , the central panel, portrays the brilliant colours of transcendental bliss.

This project represents a starting point in gently opening up the possibilities of incorporating an element of improvisation into the oeuvre of Bach's chamber music. Given that both Toshi and Anthony are improvising musicians, able and willing to extemporise in a variety of genres (jazz, folk music, early music, etc.), but also being devotees of the repertoire and musical language of Bach, it seemed natural to use certain works of Bach’s as a basis for new invention. The result is a fresh approach to Bach, where improvisation is part of the overall soundscape, whether through ornamentation, basso continuo or entire passages opened up for ‘jamming’. The instrumentation for this programme is also diverse, with Toshi and Anthony using two instruments each; broadening the timbral spectrum. This project is, for them, a crucial way in exploring just how we can be both faithful to the score and true to ourselves as creative musicians interested in mastering this musical language.

For his first solo album, he has spent ten years exploring almost ten centuries of music, which he has decided to play on four different keyboards: harpsichord, fortepiano, piano and Fender Rhodes. Fascinated by low sustained notes (known as pedal points , the descendants of drones) hence the title Bells Anthony Romaniuk exceeds the boundaries of classical orthodoxy, ranging from Mozart to Crumb. An incredible compendium of music and emotions that enables us to discover Rameau, Byrd, Beethoven, Debussy, Purcell in a new light. We go from Bartók's Mikrokosmos to a fascinating medieval melody that he has harmonised like a jazzman. Thanks to the delicate timbre of the Fender Rhodes, we hear Bach quite differently, alongside Chick Corea's magical Children's Songs.