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Admittedly, one can distinguish who finds solid ground in that search. Doris Orsan does. Her "appropriation" of the Partitas and the Ciaccona is profound, creative and lyrical. Far from the mechanistic playing of earlier times or from an all too soft ro-mantization stifling Bach's clarity and openness. All the experiences of her musical life flow into it, and it becomes apparent once again that Bach's music is all the stronger, the broader, even more modern the attitude of the one who plays it. Bach is not "baroque music", but timeless sound, with which all music begins and ends. Not without reason have so many jazz musicians recently discovered Bach for themselves - and as one of their own. So Orsan takes on this great task with passion and a broad horizon. Educated at the Salzburg Mozarteum and at the Juillard School of Music in New York, having completed her concert and master class diploma with distinction and decorated with a cultural award from the State of Austria, Orsan has studied classical music of all periods. Her recordings include Bach and Schubert as well as many contemporary works, some composed for her. She received her doctorate "summa cum laude" on Mozart's violin concertos. On the other hand, however, she is also at home in the Spanish-Latin American musical cosmos, predominantly in duo with her husband, the guitarist Johannes Tonio Kreusch. The two are dedicatees of many compositions by important composers such as Tulio Peramo Cabrera or Maximo Diego Pujol. Brass has fixed his composition tonally, dynamically and agogically, but has notated the metric-rhythmic design freely, for the following reason: "This challenges the interpreter to find and articulate his or her 'own voice' in the confrontation with the text, in order to bring the content of the music to expression." Exactly what Bach's works also demand. And what Doris Orsan masterfully achieves on "Ciaccona".

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