Bach Piano Transcriptions, Vol 9
Tributes to a much-loved pianist by the great composer names of the 1930s
View record and artist detailsRecord and Artist Details
Composer or Director: Johann Sebastian Bach
Label: Hyperion
Magazine Review Date: 13/2010
Media Format: CD or Download
Media Runtime: 79
Mastering:
Stereo
DDD
Catalogue Number: CDA67767
Tracks:
| Composition | Artist Credit |
|---|---|
| Fugue |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Cantata No. 155, 'Mein Gott, wie lang, ache lange', Movement: Aria: Wirf, mein Herze, wirf dich noch in des Höbesarme (S) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Toccata, Adagio and Fugue, Movement: Adagio |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Cantata No. 147, 'Herz und Mund und Tat und Leben', Movement: Choral: Jesu bleibet meine Freude (Jesu, joy of man's desiring) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (6) Schübler Chorales, Movement: Wachet auf, ruft uns die Stimme, BWV645 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Fantasia |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Chorale Preludes, Movement: In dulci Jubilo, BWV729 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Orgel-Büchlein, Movement: Das alte Jahr vergangen ist, BWV614 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Komm, süßer Tod |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (6) Brandenburg Concertos, Movement: No. 2 in F, BWV1047 (rec/fl, ob, tpt, vn & stgs: 1 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Orgel-Büchlein, Movement: O Mensch, bewein' dein' Sünde gross, BWV622 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (6) Schübler Chorales, Movement: Meine Seele erhebet den Herren, BWV648 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Orgel-Büchlein, Movement: Der Tag, der ist freudenreich, BWV605 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (6) Schübler Chorales, Movement: Ach blieb' bei uns, Herr Jesu Christ, BWV649 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Chorale Preludes, Movement: Herzlich tut mich verlangen, BWV727 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Chorale Preludes, Movement: Wir glauben all' an einen Gott, BWV740 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (18) Chorales, 'Leipzig Chorales', Movement: ~ |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| Cantata No. 85, 'Ich bin ein guter Hirt', Movement: Aria: Seht, was die Liebe tut! (T) |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
| (6) Suites (Sonatas) for Cello, Movement: No. 6 in D, BWV1012 |
Johann Sebastian Bach, Composer
Johann Sebastian Bach, Composer Jonathan Plowright, Piano |
Author: Bryce Morrison
This superb recital is the ninth in Hyperion’s Bach Piano Transcriptions series. Ronald Stevenson, who confirms his acidic attack on “A Bach Book for Harriet Cohen” (“a manual of how not to write for the piano”) with his own grand and effulgent transcription of Komm, süsser Tod, may have scorned writing which he found timid and conventionally British, and yet there is so much to surprise and delight in tributes that, for the most part, seem bathed in a seraphic and unearthly light. Whether elaborate or near-minimalist, the majority of these arrangements are clearly on holy ground. At the same time Leonard Borwick’s way with the “Little” Fugue in G minor quickly expands beyond its modest title. Herbert Howells offers a remarkable reinterpretation of Bach, and who would miss the gentle peal of bells that concludes William Gillies Whittaker’s Wir glauben all an einen Gott?
Constant Lambert offers a welcome shaft of sunlight among so much sobriety and Herbert Fry’s Sarabande would make a perfect encore after a long and strenuous recital. Finally, Ronald Stevenson’s opulence in his Komm, süsser Tod makes an ideal end to this dream recital. Jonathan Plowright’s playing is of unfaltering poise and sustained eloquence, and his work for Hyperion means that he receives the ideal sound and presentation that eluded him earlier in his career.
Bach Piano Transcriptions, Vol 9
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