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Jean-Philippe Collard belongs to that category of artists who move through space in the same way as they play: the measured gestures brush past the lights until he sits down in front of the instrument. The pianist has come to listen to those who have come to hear him. What he proposes is a dialogue without words. Just through the eyes and then through sound. An infinity of sounds.

How I Live Now is the big screen adaptation of the award-winning young adult novel by Meg Rosoff, directed by acclaimed Academy Award winning director Kevin McDonald (The Last King Of Scotland, Marley). The original soundtrack is scored by Jon Hopkins, composer, producer and longterm collaborator of Brian Eno and Coldplay. Featuring some of his darkest, most nihilistic work to date, the score is built from two contrasting elements - atonal, sub-terrestrial drones with a backbone of pounding rhythms, and sublimely pastoral acoustic piano. These two opposing musical forces guide the viewer through the film, by turns disturbing and beautifully meditative. The centrepiece of the score is the track The Hawk, a timeless and heartbreaking theme that recurs throughout the film.

The poet among contemporary composers. Magical arrangements of the world successes of Verdi, Satie and children's songs from the Mother Goose collection. Fumio Yasuda describes his music succinctly with the attempt to invent something new. He names the late romantic compositions of Franz Schmidt as decisive influences, but also John Cage's transgressions of boundaries. Nobuyoshi Araki brought Yasuda together with Stefan Winter 20 years ago. Over ten albums were created. For the anniversary of Winter & Winter, Yasuda meets his selection: My Choice. The FAZ writes: If you get involved in your music \- which is not a question of free will: once … put it on, you will want to hear it again and again.