Marie Nishiyama is universally recognized as a rare artist who plays both the harpsichord and the historical harp. Nishiyama has collaborated with many musicians from a wide range of genres such as René Jacobs, Paddy Maloney of The Chieftains, Carlos Núñez, Michala Petri, Corina Marti, Mutsumi Hatano, Yosuke Yamashita and so on. Nishiyama has released many CDs with very good reputation. Her latest album is “J. S. Bach: Toccaten”(KCD-2073 / July 2019). After she took her master’s degree in harpsichord at Tokyo Music University, she studied with Rinaldo Alessandrini and Nicolau de Figueiredo (harpsichord), Heidrun Rosenzweik and Mara Galassi (historical harp), Jesper Christensen (Basso continuo, ensemble), and Pedro Memelsdorff (medieval ensemble) at the Schola Cantorum Basiliensis. Nishiyama’s honors and awards include the first prize in the 11th Yamanashi Early Music Festival. Since 2012, she has been the artistic director of Shinshu Early Music Village (Workshop) and she contributes her energy to teach younger people as a lecturer of "Musashino Academia Musicae".

"Klavierbüchlein für Wilhelm Friedemann Bach" is a valuable document packed with the teachings of Johann Sebastian, which gives a glimpse of the high expectations of Friedemann, the 10-year-old eldest son of the Bach family. For us today as well, when studying Bach's works, this music book can be said to be a treasure trove of techniques for learning about the performance styles and composition methods of the time. It's not just for practice, it's beautifully lined with highly artistic works, and Marie Nishiyama plays them brilliantly.

A baroque harp called arpa doppia (meaning double harp). It was an instrument that strongly fascinated people, coloring all kinds of music, including vocal, instrumental, religious, and secular music. Although much of its history is ambiguous, it was written by V. Galilei (father of astronomer Galilei and a music theorist). Shortly before 1580, his double-stringed harp (corresponding to the white and black keys on a keyboard) containing semitones arrived in Italy. It seems that it was conveyed. In the early 17th century, he devised an instrument with three strings (corresponding to white keys, black keys, and white keys). All six of his composers included here are from or have ties to Naples. Although they are rarely mentioned in the ``Harp'', they ushered in a new style of keyboard music and greatly expanded the possibilities of the harp.

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

The reign of Elizabeth Tudor brought with it a period of splendor for England, within which the lute experienced its moment of glory. In paintings from this time convivial scenes featuring performers of harp and lute are often depicted. Well known melodies of the epoch, as well as harmonic sequences such as Bergamasca, Ruggiero, Callinoe, Conde Claros and various Dumps were used by performers when they gathered to improvise together. Sometimes the music was dedicated to a wellknown personality of the court such as was surely the case with The Queenes good Night, inspiring sweet dreams for Elizabeth. For this recording Marie Nishiyama and Rafael Bonavita have mixed the colours of harp and lute, the characteristics of each instrument to create a dialogue of sound between the two. A dialogue that goes - as does this repertoire - beyond epochs and styles, beyond its own time.

The composition series "Patterns of Plants" by Mamoru Fujieda is an ongoing project of which first album was released in 1995. Throughout the series, a method of composition has constantly been taken, which converts the data from variations in electrical potential obtained from two electrodes attached to leaves and stems of plants into melodic patterns. This works performed on a Renaissance harp modeled on a sixteenth-century Italian harp and on a seventeenth-century Italian harpsichord. The performer is Marie Nishiyama, who is very popular in Japan.

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).

The Japanese harpsichordist and harpist, Marie Nishiyama, began studying piano at age 3 In 1992 she graduated from the piano department of Tokyo Music University with piano soloist diploma, and in 1994 also received her master's degree in harpsichord there. She studied under Yoshio Watanabe (harpsichord) and Yoshiko Ueda (organ).