Information
Composer: Johann Sebastian Bach
Piers Lane, piano
Date: 2010
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67709
- Passacaglia in C minor, BWV 582 (arr. Eugen d'Albert)
- Fantasia and Fugue in C minor, BWV 537 (arr. Eugen d'Albert): Fantasia
- Fantasia and Fugue in C minor, BWV 537 (arr. Eugen d'Albert): Fugue
- Prelude and Fugue in G major, BWV 541 (arr. Eugen d'Albert): Prelude
- Prelude and Fugue in G major, BWV 541 (arr. Eugen d'Albert): Fugue
- Toccata and Fugue in F major, BWV 540 (arr. Eugen d'Albert): Toccata
- Toccata and Fugue in F major, BWV 540 (arr. Eugen d'Albert): Fugue
- Prelude and Fugue in A major, BWV 536 (arr. Eugen d'Albert): Prelude
- Prelude and Fugue in A major, BWV 536 (arr. Eugen d'Albert): Fugue
- Prelude and Fugue in F minor, BWV 534 (arr. Eugen d'Albert): Prelude
- Prelude and Fugue in F minor, BWV 534 (arr. Eugen d'Albert): Fugue
- Toccata and Fugue in D minor 'Dorian', BWV 538 (arr. Eugen d'Albert): Toccata
- Toccata and Fugue in D minor 'Dorian', BWV 538 (arr. Eugen d'Albert): Fugue
- Prelude and Fugue in D major, BWV 532 (arr. Eugen d'Albert): Prelude
- Prelude and Fugue in D major, BWV 532 (arr. Eugen d'Albert): Fugue
Piers Lane, piano
Date: 2010
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67709
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Bach through the eyes, ears and fingers of Eugen d’Albert – thrillingly recreated
The complete Bach-d’Albert was just waiting to be recorded: all eight titles sit comfortably on one disc; hardly any have been recorded before (Mark Hambourg’s dashing 1921 account of the D major Prelude, BWV532, and Risto Lauriala’s turgid 1996 one of the C minor Passacaglia are among the few); and on hand to revive these puzzlingly forgotten transcriptions is Piers Lane, whose two earlier recordings of d’Albert’s piano concertos and solo works for Hyperion (5/95, 1/98) make him the natural choice for the job, apart from having established his hyphenated Bach credentials with the superlative Volume 3 of this series (Friedman, Grainger and Murdoch: 7/03).
In transcribing Bach, d’Albert (1864-1932) differed in his approach to his near-contemporary Busoni by choosing only organ works, in pursuing clarity of texture above organ-like sonority and, as Kenneth Hamilton observes in his characteristically amusing and perceptive booklet, in the use of arpeggiated chords and octaves – “lucidity over weight” in other words. Not that Lane takes any prisoners in these sonorous and exhilarating performances, conjuring up from the Steinway’s richly resonant bass a cathedral’s 32 foot pedal division to thrilling effect. Try the F major Toccata (a score I’ve had for many years and always longed to hear played like this) or the concluding D major Fugue, perfectly paced and voiced. True, there is a lot of diddle-diddle-diddle in these 74 minutes (d’Albert never envisaged these works to be heard in this form) but I guarantee you will come away awed anew by the genius of Bach and amazed by the ingenuity of d’Albert.
-- Jeremy Nicholas, Gramophone
More reviews:
BBC Music Magazine PERFORMANCE: ***** / SOUND: *****
http://www.musicweb-international.com/classrev/2010/Aug10/dalbert_cda67709.htm
https://www.theguardian.com/music/2010/apr/08/dalbert-complete-bach-symphony-f-review
http://www.arkivmusic.com/classical/album.jsp?album_id=455816
https://www.amazon.com/Bach-J-S-Piano-Transcriptions-Vol-8/dp/B0034JV6FM
The complete Bach-d’Albert was just waiting to be recorded: all eight titles sit comfortably on one disc; hardly any have been recorded before (Mark Hambourg’s dashing 1921 account of the D major Prelude, BWV532, and Risto Lauriala’s turgid 1996 one of the C minor Passacaglia are among the few); and on hand to revive these puzzlingly forgotten transcriptions is Piers Lane, whose two earlier recordings of d’Albert’s piano concertos and solo works for Hyperion (5/95, 1/98) make him the natural choice for the job, apart from having established his hyphenated Bach credentials with the superlative Volume 3 of this series (Friedman, Grainger and Murdoch: 7/03).
In transcribing Bach, d’Albert (1864-1932) differed in his approach to his near-contemporary Busoni by choosing only organ works, in pursuing clarity of texture above organ-like sonority and, as Kenneth Hamilton observes in his characteristically amusing and perceptive booklet, in the use of arpeggiated chords and octaves – “lucidity over weight” in other words. Not that Lane takes any prisoners in these sonorous and exhilarating performances, conjuring up from the Steinway’s richly resonant bass a cathedral’s 32 foot pedal division to thrilling effect. Try the F major Toccata (a score I’ve had for many years and always longed to hear played like this) or the concluding D major Fugue, perfectly paced and voiced. True, there is a lot of diddle-diddle-diddle in these 74 minutes (d’Albert never envisaged these works to be heard in this form) but I guarantee you will come away awed anew by the genius of Bach and amazed by the ingenuity of d’Albert.
-- Jeremy Nicholas, Gramophone
More reviews:
BBC Music Magazine PERFORMANCE: ***** / SOUND: *****
http://www.musicweb-international.com/classrev/2010/Aug10/dalbert_cda67709.htm
https://www.theguardian.com/music/2010/apr/08/dalbert-complete-bach-symphony-f-review
http://www.arkivmusic.com/classical/album.jsp?album_id=455816
https://www.amazon.com/Bach-J-S-Piano-Transcriptions-Vol-8/dp/B0034JV6FM
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Johann Sebastian Bach (31 March [O.S. 21 March] 1685 – 28 July 1750) was a German composer and musician of the Baroque period. Bach enriched established German styles through his mastery of counterpoint, harmonic and motivic organisation, and his adaptation of rhythms, forms, and textures from Italy and France. He is known for instrumental compositions such as the Brandenburg Concertos and the Goldberg Variations, and vocal music such as the St Matthew Passion and the Mass in B minor. Since the 19th-century Bach Revival he has been generally regarded as one of the greatest composers of all time.
https://en.wikipedia.org/wiki/Johann_Sebastian_Bach
https://en.wikipedia.org/wiki/Johann_Sebastian_Bach
***
Piers Lane (born 8 January 1958) is an Australian classical pianist. He graduated with a Medal of Excellence from the Queensland Conservatorium of Music, where his teacher was Nancy Weir. His performance career has taken him to more than 40 countries. His concerto repertoire exceeds 75 works. Lane has an extensive discography on the Hyperion label and has also recorded for EMI, Decca, BMG, Lyrita and Unicorn-Kanchana. Lane is a well-known voice on BBC Radio 3, having written and presented more than 100 programs, including a 54-part series called The Piano.
http://en.wikipedia.org/wiki/Piers_Lane
http://en.wikipedia.org/wiki/Piers_Lane
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