In this episode of A Year of Bach, Evan talks with keyboardist Alexandra Nepomnyashchaya about her new harpsichord album Transformations, which explores Bach’s adaptations of works by composers including Marcello and Vivaldi. The conversation ranges from Bach as arranger to the expressive possibilities of the harpsichord, the freedom and discipline of interpretation, tempo choices, practice, and the influence of pianists like Sviatoslav Richter, Glenn Gould, and Alfred Cortot.
Links worth clicking on:
* Alexandra Nepomnyashchaya’s website
* Alexandra Nepomnyashchaya, J. S. Bach: Transformations: Apple Music / Spotify artist page
* Lillian Gordis, J. S. Bach: Partita No. 6, English Suite & Preludes and Fugues: Apple Music / Spotify
* Alfred Cortot: Bach-Cortot, Arioso from Keyboard Concerto in F minor, BWV 1056, Second Movement
* Sviatoslav Richter, Richter The Master - Bach: Apple Music / Spotify
Transcript:
Evan Goldfine: Hello and welcome to the podcast, a Year of Bach. My name is Evan Goldfine, and today I am welcoming Alexandra Nepomnyashchaya.
Alexandra’s a Russian born keyboardist, now based in Amsterdam. In early 2026, she released an excellent album of Bach on the harpsichord.
It’s called Transformations, and it was released on the Linn Label and it features Bach’s adaptations of other composers’ works, including Marcelo and Vivaldi. Alexandra’s playing through on this album is exciting throughout. There’s a constant sense of being pulled forward along with the music, a nice sense of pace.
So today we’ll talk to Alexandra about her thoughts on Bach as arranger and the different virtues of harpsichord and piano, when playing Bach, and how to choose the right tempi when, the scores don’t tell you what to play. So Alexandra, welcome to the podcast.
Alexandra Nepomnyashchaya: Thank you for having me here.
It’s a great opportunity and chance to speak again about Johan Sebastian Bach yeah, we get to play a lot, but, we should speak about his, we gotta
Evan Goldfine: talk about,
Alexandra Nepomnyashchaya: yes, absolutely.
Evan Goldfine: So all keyboards are introduced to Bach in their early studies. Were you drawn to his music in the very beginning?
Alexandra Nepomnyashchaya: Well, I started to play piano when I was four and a half. And I actually carried on until I was 16, only with piano playing and then when I was 16, I started to play harpsichord and carried on playing Bach on piano and harpsichord too. And then it was joined by organ and Clavichord as well. I think the music of Bach always comes with me. And it’s great to have it along.
Evan Goldfine: What’s drawing you to perform Bach on the piano versus the harpsichord? I mean, it’s a choice that you have. There’s so many beautiful recordings on both instruments. But you chose to record this on harpsichord, what drew you particularly?
Alexandra Nepomnyashchaya: Well, I personally think that music by Bach can and actually should be played on any musical instrument. it’s, you know, the one famous Russian pianist Sviatoslav Richter, the greatest, he’s the greatest Yes. In one of his interviews. so he said that Music of Bach is like a fresh spring water that cleans and refreshes our ears.
And I think this is very, very right sentence Yes. To say about we all need music of Bach. And as I grew up, listening to the recordings, of Bach mostly played on piano, so I was exposed only to piano, until I became 16. And among those recordings were for the greatest Sviatoslav Richter, as well as Maria Yudina, the quite important pianist she studied around the same time as Shostakovich.
And of course, Glenn Gould was a big hero, for all of the pianists. and, still he’s a absolutely genius.
And then of course you can agree or disagree with his interpretations. But, it’s, it’s absolutely incredible the ability, how he hears music, how he hears all the complex polyphony, which Bach writes.
So then, coming back to the point, that’s until my 16th, I was only exposed to piano and then I started with harpsichord. And that of course opened completely different path, for me. talking about the harpsichord, it’s. Quite a challenging instrument to make it sound expressive.
Evan Goldfine: Yes.
Alexandra Nepomnyashchaya: I think due to the mechanic of the instrument, which is, quite, unexpressive because, it you, so the, the harpsichord? Yeah. So it’s a keyboard instrument, which makes sound by plucking the strings. So you basically push the key down and the string is being plucked and it doesn’t matter how hard or how soft you push the key, that will not affect the sound, which means it’s theoretically, it always comes at the same, dynamic and at the same time, we know from Bach that his main demand on playing harpsichord was that it has to be a very singing instrument. So the way of playing has to be very singing and so this is quite challenging for when you face a harpsichord. as I mentioned, for example, the clavichord, which was around the time, and it was Bach’s favorite instrument, so he had it in his room and he practiced on it every day, and he made his sons practice on it as well, and they all loved it because of completely different nature of the instrument. That’s a very expressive instrument. Yeah. So the clavichord, so It’s a like a small, very, very quiet version of piano. So you press a
hits the string and it stays there until you press the key, which means you can not only do dynamic on the instrument, but you also can affect the dynamic while you are on the key. So it’s the only keyboard instrument which you can make vibrato on. That is very, very specific. Yes.
Of course, it’s not a concert, instrument, but, just with this knowledge of the expressivity in dynamic. So we, I think we have to really try and transform it into. in the harpsichord as well. And so with the harpsichord, of course, we havedifferent tools, how we can make the, using expressive not only by using different registrations on manuals.
This is one of the tools, but not the main one. I think that,
Evan Goldfine: So if you can’t freely. create any kind of dynamic range. Does it make you play more with rhythm and placement of the notes? Does that become a more important part of your expression?
Alexandra Nepomnyashchaya: so I think the length of the notes is extremely important.
So for example, where we have to play a polyphony even if it’s only two voices. So we have to make a difference between the sound in one voice comparable to another one. And so we manipulate it with the lengths of the notes and also with the timing, which is crucial and very, very important but I personally believe so that when I play harpsichord, I have to imagine dynamic much stronger and much more precise than when if I would play it on the piano because there is nothing, nowhere to hide. So. While playing harpsichord or with a piano playing, we can hide behind the beautiful sound behind the pedal. So there are,
Evan Goldfine: so you can change the dynamic range and that means that the note placement may be less emphasized or, whether you get a run exactly right because you, if you’re pedaling and all these notes are holding together. You have this beautiful cordal shape Exactly. That’s coming around. And with the harpsichord it’s just stark. and exactly. You only have one choice. Yeah.
Alexandra Nepomnyashchaya: Yes, And so we have to use lots of over legato, which is, very important to make the sound as long as we can, and to make this difference with the lengths of the notes as well as timing.
Also to know exactly what is the phrasing, what we want to say, and so what is the dynamic? And I think that harpsichord, you know, as a still a live instrument. So it sort of listens to your imagination a lot. ‘cause when I play, so if I imagine dynamic, even if I don’t do anything like theoretically, but I feel that the instrument reacts on this and somehow follows that line, which is great.
Evan Goldfine: I’ve noticed that sometimes , harpsichordists will, as opposed to piano maybe, roll the notes a little more on chord so it creates a little more length.
So, they’re not hit exactly the same time. Is that a strategy that you use when you’re thinking about harpsichord versus piano?
Alexandra Nepomnyashchaya: Yeah, so I think you can totally use it on the piano too. Mm-hmm. It is, and we know that they use it a lot like also in the 19th century. Yeah. So this, it’s a music of Beethoven, so it’s totally allowed and appreciated.
It’s just, you know, in the 20th century, everything became quite strict. And so people started to be afraid to play what’s not exactly written in the music. Actually the way the further back we go, the freer. It was. Yeah.
Evan Goldfine: I guess with Gould, again, now we’re free again to do whatever we want.
was he an inspiration? I know I don’t hear a lot of Gould in your playing, butfor better or worse. Right. You know, he was his own thing. And that’s great that your own
Alexandra Nepomnyashchaya: Yes.
Evan Goldfine: So did that kind of freedom that he showed allow, do you think that we’re all kind of children of Glen for that freedom that he was creating?
Alexandra Nepomnyashchaya: In a way yes, but I think when the harpsichord came back, and with the Leonhardt generation, it was quite strict still. and so it’s now that I feel that, it’s releasing a game and that people play both piano and harpsichord, and that is a great thing, because it was some time when the musicians were quite strict, so we only play harpsichord in only certain way. So everything round would be like not allowed or, Not appreciated.
Evan Goldfine: Yeah.
Alexandra Nepomnyashchaya: I think now we, we, because the generation of young players, it’s, it’s good to see that people really, really Become more free. I,
Evan Goldfine: I just heard Lillian Gordis in concert.
I don’t know if you’ve heard her albums
Alexandra Nepomnyashchaya: No. No. No,
Evan Goldfine: she’s
a young harpsicordist, with a new album from last year. Excellent stuff. and Pierre Hantai, I think you studied with, is that right? Yes.
Alexandra Nepomnyashchaya: Had the master classes.
Evan Goldfine: I loved his, book, one of the Well-Tempered Klavier.
I think it’s one of the more important recordings of that piece. and just really it turned me onto the harpsichord is like, wow, this is something that can, because I guess I started with Gould like everybody else with some of those albums.
Evan Goldfine: Yep.
Evan Goldfine: And Richter and, and the other geniuses who have created like a, a template in my mind about how those things should sound.
Evan Goldfine: yeah.
Evan Goldfine: now it sounds great on the harpsichord too. When you were thinking about creating some of your, interpretations of these. Are you hearing the recordings that you know, well, do you study the recordings? Are you just looking at the score and how does it come from you into the music? I think it’s, there’s something really key about it and I can’t ever put my finger on it.
So how do you approach your music making?
Alexandra Nepomnyashchaya: Yeah, well, of course I listen to the recordings. I love listening and to compare them as well, I do it before I get to the, too far with the pieces myself So when I’m at the moment, of exploring it myself, I try to really focus on what I want to say and, how do I see this?
So what is the right choice? it’s quite a long process for me. it’s, I must say it’s never easy. I struggle a lot. Like there always musical ideas and you know, is it right tempo or is it too fast or too slow? And then I change lots of things.
it’s a long process for me, which I love because I love practice, I must admit. So I feel really that I rest with my soul when I practice. It’s a kind of meditation for me
Evan Goldfine: So when you’re, you come up with your, you play it, and then you’re growing along with it, and the tempi can change or the dynamics can change, or your thoughts about it can change.
Is that from repetition and do you feel like you’re understanding the music better? Is it, integrating with other songs that you want to have on the album? how are those things developing over time as you’re iterating your interpretation?
Alexandra Nepomnyashchaya: Yeah, it’s, it’s the more I practice the, I think the deeper I understand and also deeper I listen this music, to this pieces. And then some ideas come and then I try things as well. so that’s, it’s always good to have this time, before the recording. So that you, you have enough time to actually grow and still, I must admit, you record something and then you come back to the program like I do now, have to play it in a month in Spain with the whole recital. And then I feel, oh, I should have played it differently. You know? And this is, I think it’s totally normal.
Evan Goldfine: And will you play it the new way at the concert or are you gonna go back to your old way?
Alexandra Nepomnyashchaya: No, no. I think you can’t go to the old way. There’s not such thing.
I think it’s always develops, which is great because it’s, it’s, there is no like, that’s a great part of being musician We never stop. We never stop learning. We always go forward. Yeah. I think that’s very special in our profession.
Evan Goldfine: One of the pieces I really liked on the album is a very short piece.
It’s BWV 9 9 9. It’s a short arpeggiated study in C minor. I played that on guitar originally in A minor, ‘cause c minor on the guitaris no fun. but in A minor it’s, you can play it. and I started to learn on the piano as well. And when I’ve played it. I really go slow and I milk it for the drama, like the big heavy notes on the bottom.
And like we’re going, it’s this arpeggiated study. It’s so pretty. Like, it’s almost like the Arpeggiated C major prelude from the first, Well-tempered Klavier, like the very famous one.
Alexandra Nepomnyashchaya: Yep. Yep.
Evan Goldfine: your interpretation here is very fast and wonderful.
Evan Goldfine: and you know, I’ve listened to a lot of other recordings of that piece before.
The keyboardist, Walter Gieseking,
King,
I think is his,how you pronounce it. Yes, yes. He also plays it extremely quickly. Okay. And the fastest that I’ve heard it. but yours is also very, very fast. So I mean, can you hear it as like this really languid lush piece with like you really enjoying all the, all the arpeggios also, or, and, but you chose to, to move it quickly, which also works, but it’s a very different kind of feel.
I’d love to hear how you came to that interpretation.
Alexandra Nepomnyashchaya: Well, for the tempo. So it’s, I think the first comes as a character for me. So I have to look which character I want to deliver so the tonality is a very important thing for me because I hear, I actually remember all the music, but with the tonalities, I never remember numbers, but I know exactly which keys it did. So it’s just something because, probably because I have an absolute pitch and I very much connect music with that. So every key means something for me and for my ears. so the C minor, so it’s just, I see it as quite a, stormy and fiery little piece.
Evan Goldfine: For Beethoven too.
C minor, right?
Alexandra Nepomnyashchaya: Yes, exactly. And also the important thing, I think the harmonies, how quickly harmonies change. And if you notice that in this small prelude. The harmony change either, every bar or every second bar. So, which is quite a long time for the harmony.
So that’s also helps me to understand, okay, I want to see line within the harmony. I don’t want it to be stuck on the C Minor for two bars without,dynamic. So, because you’re on harpsichord going back to that onco. Yes. So I need to see this dynamic development and with within, and the harmonies are very, very important.
for everything.
Evan Goldfine: There’s like one note towards the end that changes everything in that piece. Like, it, it moves you from, from, minor into this major key. And he kind of hints at it. I love this about Bach. He’ll sometimes hint at it that it might be coming and then he brings you there and he changes the harmony.
And then suddenly You find yourself in the new key altogether.
in this program that you created, there’s a lot of pieces of Bach, an arranger, and he’s arranging other composer’s works for keyboard and I think about that a lot as him studying.
Right. And, and he’s presenting that to us, but he’s also, there’s, there’s a craft to what he’s doing too. When, when you were looking and, and learning these pieces, did you also refer to the originals? did you study those at all?
Alexandra Nepomnyashchaya: Yeah. Well, just to say about the. Arrangement world. So this Bach, he’s like Handel who was great recycler of the material.
Evan Goldfine: Mm-hmm.
Alexandra Nepomnyashchaya: And Handel was very often accused of stealing the music from others. Yeah. So we know that, but actually it’s just very important to say that using the, or borrowing the material from other composers. We can see it as a tribute, so as appreciation of other composers. And, of course Bach is far more adventurous and creative than I think nearly every composer from his time.
so those two concertos, which I play under the city, so the arrangement of the violin Vivaldi concerto and the famous oboe concerto by Marcello.I know the original pieces, I listen to them of course.
that is very important for me as well to to hear what’s happening in the original version. And then once I know, I open the music of Bach and then the surprise comes because the music sounds louder and more amplified in Bach’s version, then comparable to the orchestra version. And that’s a paradox because you play just a harpsichord, but it sounds louder, more intense,
There’s so much going on things I don’t think Vivaldi and Marcello would ever imagine. Those concertos sound that full.
Evan Goldfine: do you think that that’s the arrangement of the notes that he has, like the way that the notes are stacked up and are there different harmonies? how do you think that he achieves that?
Alexandra Nepomnyashchaya: So he’s, he’s following the harmonies quite, quite strictly, I think. But he adds so many extra lines, so many, intensive chromatic lines, and the texture becomes so full. it’s, it’s never just the translations of the originals. So he, changes the material into something glorious new.
even he does it with his own pieces. We know from his, passions. Yeah. With Matthew and John’s passions whenever, because he performed that not once. And by performing them second time, he changes things. He adds things or change them it’s always different. And with the concertos is the same thing.
I think the texture becomes so rich, so many decorations he writes. And even improvisation is also. You can find the improvisational, language there as well.
Evan Goldfine: Yeah.
Alexandra Nepomnyashchaya: it’s unbelievable. It’s how joyful and the character becomes.
Evan Goldfine: Yeah. the adagio from the marchello, oboe Concerto is a very famous piece and also one of box absolute masterpieces that everyone should know.
I actually start the theme song from my podcast. I’m playing it on, on the keyboard’s, the first. You know, little. Oh
Alexandra Nepomnyashchaya: yeah. Yes.
Evan Goldfine: it’s just, it’s a magic four minutes of music. what were your personal reflections of that? what do you remember of that what are some of your, favorite interpretations of that?
Alexandra Nepomnyashchaya: Oh, the interpretation. it’s hard to say, but I would, you know, when I have one of the favorite recordings of Bach played by the amazing pianist Alfred Cortot. And he has this recording of the second moment of, the harpsichord or keyboard concerto with the orchestra, which is in F Minor.
And he plays a second movement arranged by himself only for Piano. Okay. And it’s, yeah, you can find the recording. it’s in the collection. I’ll link to that, everybody. Absolutely. It’s, from 1948. and this is a magic for me because this is so much, It feels like he’s in the room with you.
the music really speaks to you. the rubato is so natural and it’s so sincere and touching. that’s a feeling. I wanted to create this movement of, second movement of Marcello concerto as well. So I think it’s so touching at the same time. it’s quite a simple melody, so it’s, yeah. So that’s the simpleness and, Humanity. So I think that’s a very important guide line for me,
Evan Goldfine: I think in my favorite recordings of anything you are hearing, the interpretation of the individual self, of the player, But also that there is something more to it there. They have something to say about it and they’re communicating their personality somehow through this interpretation.
and also it has to resonate with me that I like their interpret, that I like their personality almost. Yeah. That they’re coming up with something. You can have a very well played. Interpretation of something that just does not meet my taste. And there’s always a magic to figure out how are you gonna connect with that particular performer.
I’d love to know about some other performers that evoke that sense for you. I mean, and how they may relate to one another because we’ve talked about Cortot and Gould so far, and Richter, and these are very different sorts of players
Alexandra Nepomnyashchaya: Yeah.
Evan Goldfine: Who are all amazing in their own ways and which is weird, right.
how do we like all of those three? it doesn’t necessarily mean, like, I don’t understand that. So I’d love to hear what do you think about that? how come. We connect in certain ways with these very different sorts of interpretations.
Alexandra Nepomnyashchaya: Well, as I like to listen to many very different performers, so I never get stuck on one person or like one recording. Because I think it’s dangerous because otherwise it is a danger that you try to copy someone and you can’t do that.
Evan Goldfine: Oh, that’s a professional danger for you, right? You can’t,
Alexandra Nepomnyashchaya: No, you, you, yes. Because you have to be yourself still and yeah. I have a few names, which also in the harpsichord world, which, yeah. Which the, the performance who I admire and they are completely different from each other, so it’s, also Andres Steier. So it’s, it’s a big
Evan Goldfine: Oh yeah.
Alexandra Nepomnyashchaya: Important figure for me because I took a few lessons with him, private lessons and he is, it’s such a deep, honest approach, which I appreciate so much. So it’s, it’s quite a strict approach as well. so that because he sees the things certain way and sometimes doesn’t allow it to be as flexible, but this honesty about music and going to the truth to find what is, you know, what Bach wanted to say.
I really do appreciate it a lot. I think I, it’s a bit in my system because when I started to play piano, I used to have lessons with my father and we could sit for Three hours Just to get to this truth and musical meaning of the composer. So I think I quite appreciate and love this approach.
And then I, of course, I have another, completely different example is, Richard Eggar.
Igar.
who is also like my life partner Yes. And dual partner in piano.
Evan Goldfine: Yeah.
Alexandra Nepomnyashchaya: And that is, is a very different, very human, very emotional and pure music approach. And there’s lots of freedom and lots of space for being creative
Evan Goldfine: So rigidity works, openness works, but there’s something that’s unsayable unknowable that makes it really great. Like, because you can come at it from different approaches and still achieve.
Alexandra Nepomnyashchaya: Yes, exactly. And I think like this, his braveness, you know, that’s a very, very special thing in all the music he is approaching.
Yeah. So I try to find the braveness as well, like the improvisation, you know, when we play duo and it’s like the or limitations go so wild.
Evan Goldfine: When you were sitting as a child with your father taking these lessons and it was three hours for three bars, was that something that you pushed against or was that something that was okay.
Was he gentle? Was he very strict about it? how were those early lessons? ‘cause I can imagine those being fraught
Alexandra Nepomnyashchaya: with,
Evan Goldfine: with your dad. I
Alexandra Nepomnyashchaya: think I didn’t have a choice, honestly. Yeah. Because, I started to play piano when I was four and a half, but my sister already played for two years
Evan Goldfine: mm-hmm.
Alexandra Nepomnyashchaya: Piano. So I was inside of this world already and I loved it. I loved her listening to her playing piano, and it was just. Sort of something which yeah, I was not asked about, but I love the music. It was tough. It was, he was very strict and very, sometimes very difficult to understand what he exactly meant because I think he, some things he wanted for me as a child, I think you can request it from the adult people.
Evan Goldfine: Right.
Alexandra Nepomnyashchaya: And that was the most difficult thing for me to understand actually what he wants.
means.
Yeah. Yeah.
Evan Goldfine: Right. ‘cause he didn’t have the, you think it was a life experience or ear training, or you just didn’t have the breadth of understanding, didn’t have enough hours at the keyboard to be able to, bridge that gap.
what changed between ages, I don’t know, 10 and 20 That allowed you to be able to do more?
Alexandra Nepomnyashchaya: I started to really enjoy practicing from I think my like 12 when I became 12, 13. That’s the time when I discovered I can practice at the music school, you know,
Not only practice at home. And knowing that my father is listening in the other room, right. Exactly. And try to come and, you know, every single bar, which is not correct or doesn’t sound as he would like it to be, he would come and comment to that. And so the school practice myself that really made a difference.
Spent so many hours on practicing on my own and then was like when harpsichord joined, right? My life, that was even, even better. I only had harpsichord at school, so no chance to practice at home.
Evan Goldfine: Right. More freedom.
Alexandra Nepomnyashchaya: So yes.
Evan Goldfine: Were there particular composers at that age that hit you more like, oh, I can now go over there and I can play Tchaikovsky if I want to.
If that wasn’t welcome at home, how did that go?
Alexandra Nepomnyashchaya: You mean in which age?
Evan Goldfine: Yeah. you can start to choose more of your own repertoire as you get a little older. Right? Maybe you’re syncing with Chopin, maybe you’re syncing more with Bach.
Alexandra Nepomnyashchaya: Well, I must say that I played Bach from the beginning, so from the very early age, and so I remember.
Absolutely enjoying playing his, the inventions and the symphonies in three voices, and later on French suites as well as English suites. And somehow I always had a very warm relationship with music of Bach. And it’s, you know, it’s probably a couple of reasons for that. First one is quite practical.
we used to have very, very heavy pianos at the school, the music school, and you know, with the music of Bach, I did have to struggle with it, finding the power to, you know, to actually reach the whole, with the, while playing the heavy,
Evan:
there’s no FF, like in, it’s not rock.
Alexandra:
Exactly. Exactly. Or like, to, to carry it through the very, very long. Clementi etude, which, goes for like six minutes without any stop. And then you completely overwhelmed with this technical, difficulties. And with music of Bach I could. Focus on music and just dive into his world and didn’t have to think, is it, loud enough or my fingers strong enough to play it.
So that’s was a very, very special
Evan Goldfine: right
Alexandra Nepomnyashchaya: So I always enjoyed, but, and the other, yeah, so of course the other reason, It’s, it’s a fascinating to see the, you know how in Bach music, two sides combine,like for one side is that I find his music very emotional and human and touching.
And from the other side, we know that it, it’s, it’s also very clever music and very well structured, very strictly structured. Yeah. And there’s lots of symbolic meaning. There’s lots of numbers, which he connects him to the gods and to himself. So he was obsessed with the numbers. Yeah. So that’s, it’s this combination of two sides.
I think it’s fascinating. And yeah, so that’s, that’s, how I connect.
Evan Goldfine: I know very few artists who match the formal rigor and the emotional power that Bach does. And I think that that’s just the best for me.
Alexandra Nepomnyashchaya: Yes, exactly. So this is absolute fascination. And, and well the, this paradox thing as well as my daughters, now, they play piano and they play Bach, and they play this like the invention in two voices, which I used to play in around their age. And now when I look at this pieces, I think, oh, this is so difficult. You know how musically tricky it is. Yeah. I think yes. The more you know, the more questions you ask and the more things, yes, it becomes difficult as well.
Evan Goldfine: It looks simple and to get it to sound great. Takes a lifetime.
Alexandra Nepomnyashchaya: Yeah, yeah. Absolutely. Yes.
Evan Goldfine: I’m thinking about the numbers with Bach. The one that comes to mind is the first movement of the third English suite when it’s like,
Alexandra Nepomnyashchaya: yeah.
Evan Goldfine: three and two and six are just sort of all interposed on top of each other for the whole time.
Yes. And you can look at it like a math problem the whole way, but it’s not, it’s a beautiful piece of driving music in the right hands.
Alexandra Nepomnyashchaya: Yeah.
Evan Goldfine: Yeah.
Alexandra Nepomnyashchaya: Yes. Yeah, yeah, yeah. Absolutely.
Evan Goldfine: Well, Alexandra, thank you again for taking some time talking about , your album and, and, and how you think about Bach and your experience on the keyboard with him.
Again, the album is called Transformations. It’s out on the Linn label, and you can,find it in the links to the show notes here. And, thank you again and, and looking forward to hopefully seeing you in concert one day.
Alexandra Nepomnyashchaya: Thank you very much, Evan, for having me.
Evan Goldfine: Thank you.
