Aristo Sham 沈靖韜 鋼琴專輯 Timeline (CD)

專輯簽名會已於 18/11/2025 完結

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TIMELINE

鋼琴家 Aristo Sham 沈靖韜 全新專輯，收錄多首Busoni改編樂曲，包括〈J.S. Bach: Chaconne from Violin Partita No.2〉和〈 J.S. Bach: Sleepers Awake〉，及Edvard Grieg仿十八世紀舞曲風格的〈Holberg Suites〉。從 Bach的永恆主題 到 Busoni對時間與生命的哲思，再到 Grieg對過往時代的浪漫凝望，整張專輯是一段橫跨世紀的時間旅程，展現他對音樂與人生的深刻體悟。

沈靖韜以 29 歲之齡於2025年第17屆范．克萊本國際鋼琴比賽中榮獲金獎，成為該獎項史上首位獲獎的香港人！🇭🇰🏆 亦是自2009年以來首次再有華人獲獎。

他的風格以清晰、優雅及極具技巧著稱，被《The New York Times》讚譽為「兼具清晰、優雅與充沛技巧的鋼琴家」，《Gramophone》更盛讚他在決賽中演奏 Brahms《Piano Concerto No. 2》展現出「成熟藝術性與結構掌控力」。

Track List:

JOHANN SEBESTIAN BACH (1685-1750)
 1 Toccata in C minor, BWV 911

JOHANN SEBESTIAN BACH / arr. FERRUCCIO BUSONI (1866-1924)
 2 Wachet auf, ruft uns die Stimme, BWV 645
 3 Chaconne from Violin Partita No. 2 in D minor, BWV 1004

JOHANNES BRAHMS (1833-1897) / arr. FERRUCCIO BUSONI
    6 Chorale Preludes
 4 Herzlich tut mich erfreuen, Op. 122, No. 4
 5 Schmücke dich, o Liebe Seele, Op. 122, No. 5
 6 Es ist ein Ros entsprungen, Op. 122, No. 8
 7 Herzlich tut mich verlangen, Op. 122, No. 9
 8 Herzlich tut mich verlangen, Op. 122, No. 10
 9 Welt, ich muß dich lassen, Op. 122, No. 11

FERRUCCIO BUSONI
 10 10 Variations on Chopin Prelude in C minor, BV 213a

EDVARD GRIEG (1843-1907)
 Holberg Suite, Op. 40
 11 I. Praeludium
 12 II. Sarabande
 13 III. Gavotte - Musette
 14 IV. Air
 15  V. Rigaudon

Aristo Sham 沈靖韜

 I am drawn to music that is borne of the ‘rhythm of the universe’ – music that dances upon 
the inevitability of how time and space proceeds, music that re ects upon nature in all its 
perspectives and crevices – elements that all of us can resonate with in our own way, 
emotional, intellectually, and physiologically.
 I have curated a programme that adheres to this principle, and with embracing time and 
space, we naturally come to the principles of transformation and a sense of timeliness; a 
timelessness that looks both forwards and backwards in time. Music is played out in time, 
it is the use of time that gives music its language; music also exists in time, it belongs to 
the period of time of its creation, but also reveals something of the temporal continuum – 
a blend of foresight and tradition – a timeline.
 The passage of time paints a unique feeling – a delightful, bittersweet mixture of nostalgia, 
gratitude, memory, and anticipation – a subdued emotional vortex of sorts: sitting by the 
window on a plane, watching worlds and lives pass by underneath us, after a joyous 
reunion with loved ones (never long enough); or one’s own transformation through time in 
a place of still nature, where none are the agents of change but everything is undergoing 
constant change; or witnessing the acquisition of wisdom (or stubbornness) through time 
in those dear to us. It is one that I am incredibly fond of, and a precious place that I would 
love to share with my listeners through music. 
With this album, I hope to capture these gratifying slithers of the experience of life through 
the vastly differing timelines of the compositions featured, and to create a unique 
overarching timeline where we allow ourselves to be inspired by the journey of time, to feel 
the passage of time, to enjoy the spirit of time. 

Every piece in the record holds its own interpretation of these aforementioned ideas. We 
start with ‘pure’ Bach and end with ‘pure’ Grieg, looking towards each other (unbeknownst 
to the former), traversing through four Busoni transcriptions and compositions which all 
have very different opinions on how they respond to the concept of time, place, and era.
 In the C minor Toccata, Bach takes a theme (an inspired, timeless one which could have 
also been created yesterday) and reiterates it 17 times practically verbatim through 
varying surroundings, miraculously creating a narrative that is both complete and 
compelling – transformation of an idea in the purest sense and a powerful experience of 
the passage of time and place – the raw experience of being transported through milieux 
and states of mind.
 The four Busoni pieces are as far from each other as can be with regards to their approach 
and treatment of material, each also with an eye on mortality. With the Bach as a 
springboard, the Busoni transcription of Wachet auf, ruft uns die Stimme (also known as 
“Sleepers Awake”) is as pure of a transcription as can be, almost stark, or barren, which is 
an artistic and aesthetic choice and message in its own right, especially given the bene t 
of hindsight which Busoni enjoyed. The Bach-Busoni Chaconne, however, takes a timeless 
masterpiece encapsulating the greatest depths and heights of loss, grief, and hope, and 
eshes it out to the maximum limit of what the material can handle, in a manner 
reminiscent of an organ symphony: one foot in the Baroque, and another in the late 
Romantic, some 170 years later, to create worlds embedded between. Emotions are 
heightened, the scope is ballooned, and the potential of the instrument is unleashed and 
fully taken advantage of.
 The Brahms-Busoni Organ Chorale Preludes represent a hybrid of the two modes, closer 
to the original word of Brahms, with subtle harmonic stylisation which almost act as a 
commentary. It also develops on the theme of mortality, being Brahms’ nal composition, 
where there is surprisingly little sorrow, but more of dignity and re ection – poems on 
gratitude, grace, celebrating a life of ful lment, tinged with melancholy and regret, but 
only ever so slightly. 
With 10 Variations on Chopin Prelude in C minor, Busoni takes an iconic, sombre, and 
stirring theme, and proceeds to take it apart in all sorts of unexpected and inventive ways, 
unabashedly whirling the theme through exotic timelines. While adhering to his aesthetic 
of intellectual virtuosity, Busoni pursues his path almost with playful disregard of the 
original subject matter, ending with a series of winks to the listener and a bombastic nale.
 To conclude, we arrive at Grieg’s “Fra Holbergs tid (From Holberg’s Time),” more commonly 
known as the “Holberg Suite,” which garnered popularity as a string orchestra staple, and 
whose provenance as a piano piece is little known. Grieg looks backwards in time through 
a lens of affection and purity, conceiving a Baroque suite of the Romantic era. The 
ingenious interplay of time periods, and the desire to live among many in tandem – 
fascination with the unknown and the known – is deeply personal and one that everyone 
can respond to in their own way. 
I hope that this record paints a portrait of one of the key tenets in my artistic personality, 
and illustrates a compelling journey through some music that is incredibly dear to me. It is 
a privilege to live among great works of art which re ect and embody such intimate and 
ethereal ideas, and I wish to create an emotional resonance that will contribute something 
to the experience of life of everyone who enjoys my art. The presence and unfolding of time 
is a miraculous, beautiful and transcendent thing, and I invite you all to nd and relish in 
your own timeline of this music.