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1. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 2 In D Major (After Book 2, No. 5, Bwv 874)
2. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 6 In B Minor (After Book 1, No. 24, Bwv 869) (In Strict Style)
3. 6 Fugues On B-A-C-H, Op. 60: No. 1. In B-Flat Major: Langsam
4. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 3 In G Major (After Book 1, No. 15, Bwv 860)
5. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 8 In D Minor (After Book 2, No. 6, Bwv 875)
6. 6 Fugues On B-A-C-H, Op. 60: No. 2. In B-Flat Major: Lebhaft
7. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 9 In C-Sharp Minor (After Book 1, No. 4, Bwv 849)
8. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 6 In B Minor (After Book 1, No. 24, Bwv 869) (In Free Style)
9. 6 Fugues On B-A-C-H, Op. 60: No. 3. In G Minor: Mit Sanften Stimmen
10. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 1 In C Major (After Book 1, No. 1, Bwv 846)
11. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 5 In D Minor (After Book 1, No. 6, Bwv 851)
12. 6 Fugues On B-A-C-H, Op. 60: No. 4. In B-Flat Major: Massig, Doch Nicht Zu Langsam
13. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 10 In C Minor (After Book 1, No. 2, Bwv 847)
14. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 4 In E-Flat Major (After Book 2, No. 7, Bwv 876)
15. 6 Fugues On B-A-C-H, Op. 60: No. 5. In F Major: Lebhaft
16. Melodisch-Kontrapunktische Studien, Op. 137b: Prelude No. 7 In B-Flat Major (After Book 1, No. 21, Bwv 866)
17. 6 Fugues On B-A-C-H, Op. 60: No. 6. In B-Flat Major: Massig, Nach Und Nach Schneller
18. Variationen Uber Eine Sarabande Von J.S. Bach, Op. 24

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Bach a poet? In our age of performer’s intensive efforts at keeping faithful to the original and the “correct” performing style, this statement sounds surreal today, seeming to reek of nostalgia. From this perspective, Bachiana, featuring the Duo d’Accord, must appear anachronistic, since it’s music takes us back to an epoch – the era of the Romantics – in which Bach was played in a free, even occasionally downright carefree, style. “The artistry of Duo d’Accord lies in that their performance appears to develop completely freely and flows with all due desirable precision.” – (FonoForum)

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