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| 01 |
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J. S. Bach, Cello Suite No. 4 in E-Flat Major, Prelude |
03:14:00 |
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| 02 |
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J. S. Bach, Cello Suite No. 4 in E-Flat Major, Allemande |
03:58:00 |
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| 03 |
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J. S. Bach, Cello Suite No. 4 in E-Flat Major, Sarabande |
03:34:00 |
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| 04 |
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J. S. Bach, Cello Suite No. 4 in E-Flat Major, Gigue |
03:32:00 |
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| 05 |
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Philipp Moll, Bergwarts West |
03:58:00 |
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| 06 |
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Philipp Moll, Alma |
03:59:00 |
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| 07 |
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Matthias Schranz, Temagami |
03:02:00 |
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| 08 |
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Thomas Demenga, Jazz |
03:27:00 |
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| 09 |
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J. S. Bach, Herr Gott, nun schleuss’ den Himmel auf |
03:25:00 |
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| 10 |
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Matthias Schranz, Legend |
03:46:00 |
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| 11 |
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J. S. Bach, Two Chorals: Meine Seele / Ich ruf’ zu Dir |
03:10:00 |
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| 12 |
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Philipp Moll, Origin |
03:32:00 |
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| 13 |
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Thomas Demenga, New York Honk |
03:36:00 |
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| About the album |
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entre vias literally means “between the tracks”: a space of passage, but also one in which paths may cross. It is here that the three musicians of the trio meet. Thomas Demenga has pursued the cello as a solo voice for decades, with Bach a constant presence throughout. Matthias Schranz brings a rock attitude into the orbit of the cello, moving between guitar pick and bow. Philipp Moll opens another route, through jazz, double bass and film music. Their paths do not simply run alongside one another. They shine through each other like the writing on a palimpsest, where the new never quite effaces what came before.
That process of rewriting and remembering begins long before entre vias. Bach’s chorales themselves draw on melodies that preceded his settings, carrying older material into another musical language. Something similar is at work on the trio’s 2026 debut. In the opening Prelude from Bach’s E-flat major Cello Suite, Demenga sets another melodic line against Bach’s original, allowing one music to cast a different light on the other. Bach returns in the chorales heard across the album, alongside Moll’s Bergwärts West, Schranz’s Temagami and Demenga’s Jazz. Not counterpositions so much as continuations: different histories entering the same present.
For col legno, this is more than a footnote. entre vias proposes music as something unfinished in the most productive sense: inherited, transformed and passed on. No terminus, only further connections. And between the tracks, the possibility of another way forward. |
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| entre vias |
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Music begins long before the first note. It emerges in the shared attention between musicians, in the resonance of wood and string, in the space that allows sound to reveal its own direction.
entre vias brings together two cellos and double bass in an ensemble where listening becomes the primary act of creation. Thomas Demenga, Matthias Schranz and Philipp Moll approach the programme not as a sequence of works but as a continuous landscape, where music exists without hierarchy of genres. Ideas pass from one instrument to another, are reflected, transformed, and sometimes left suspended in silence.
At the centre lies the music of J. S. Bach – not as destination, but as source. His music appears in echoes and fragments, as remembered architecture, opening pathways towards original compositions and newly imagined readings of familiar repertoire. The past is neither quoted nor revisited; it remains present, quietly informing what follows.
Each musician arrives with a distinct artistic voice. Thomas Demenga’s playing has long united precision with an uncommon expressive openness, revealing the cello as both storyteller and companion. Matthias Schranz moves freely across musical languages, allowing chamber music, improvisation and contemporary expression to meet without friction or fear. Philipp Moll’s double bass extends the ensemble’s horizon, grounding the conversation while continually inviting it elsewhere. What emerges is an exploration of musical presence itself: form, texture and silence are discovered rather than imposed.
The ensemble name, entre vias – between the tracks – suggests a place not of arrival but of possibility: the space where parallel paths draw close without merging, where movement is defined by attentiveness to the journey. These are conversations carried by resonance rather than argument, inviting the listener into a sound world where memory, imagination and the present moment coexist in quiet equilibrium.
Thomas Demenga, cello
Philipp Moll, bass
Matthias Schranz, cello |
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