Composer: Johann Sebastian Bach, Antonio Vivaldi
Performer: Martin Roscoe
Number of Discs: 2
Format: FLAC (tracks+cue)
Label: Hyperion
Catalogue: CDA67468
Release: 2004
Size: 283 MB
Recovery: +3%
Scan: yesc
CD 01
Bach: Prelude & Fugue in E minor, BWV548 ‘Wedge’
01. I. Prelude
02. II. Fugue
Bach: Trio Sonata No. 5 in C major, BWV529
03. II. Largo
04. Bach: Chorale Prelude BWV663 ‘Allein Gott in der höh sei Ehr’
05. Bach: Chorale Prelude BWV711 ‘Allein Gott in der Höh sei Ehr’
06. Bach: Chorale Prelude BWV662 ‘Allein Gott in der Höh’ sei Ehr’
07. Bach: Chorale Prelude BWV653 ‘An Wasserflüssen Babylon’
08. Bach: Chorale Prelude BWV720 ‘Ein feste Burg ist unser Gott’
09. Bach: Chorale Prelude BWV658 ‘Von Gott will ich nicht lassen’
10. Bach: Chorale Prelude BWV647 ‘Wer nur den lieben Gott laesst walten’
11. Bach: Chorale Prelude BWV650 ‘Kommst du nun, Jesu, vom Himmel herunter’
12. Bach: Trio super ‘Herr Jesu Christ, dich zu uns wend’, BWV655
13. Bach: Chorale Prelude BWV665 ‘Jesu Christus, unser Heiland’
14. Bach: Chorale Prelude BWV659 ‘Nun komm, der Heiden Heiland’
15. Bach: Chorale Prelude BWV649 ‘Ach bleib’ bei uns, Herr Jesu Christ’
16. Bach: Fantasia super ‘Valet will ich dir geben’, BWV735
CD 02
Vivaldi: Concerto, Op. 3 No. 8 ‘Con due Violini obligati’, RV 522
01. I. Allegro
02. II. Adagio
03. III. Allegro
This fourth volume in our series of Bach transcriptions brings the first recording of the complete works in the genre by the hugely neglected figure of Samuil Feinberg. Feinberg belongs firmly in the grand tradition of the 19th-century pianist/composer that stretches from Chopin to Godowsky via Liszt and Busoni. Unfortunately his modernist compositional tendencies and the fact that he was Jewish led to his being sidelined within the Soviet regime, his elitist music being rarely performed and his performing career constrained within the USSR. It is likely that his transcriptions were a creative response to the restrictions placed on his original music; no one could deny Bach his rightful place in the musical world and his organ music, from which all these works originated, was little known in Russia. No doubt Feinberg, the virtuoso, was also fascinated with the challenges of recreating the works pianistically as had Busoni before him, and it is to this composer that Feinbergs transcriptional style can most easily be compared. His earliest transcription, the Vivaldi/Bach concerto, is also his most superficially virtuosic; its interesting that thereafter his choice of music tends to come from Bachs later output where his polyphony and harmonic language is at its most complex. These are magnificent realizations of works often still too little known in their original guise which will fascinate both for their pianistic ingenuity and their intrinsic musical worth.