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Hyperion Records

Click cover art to view larger version
Front illustration by Donya Claire James (b?)
Track(s) taken from CDA67767
Recording details: September 2008
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jeremy Hayes
Engineered by Tony Faulkner
Release date: September 2010
Total duration: 4 minutes 34 seconds

'Jonathan Plowright plays everything with calm, unforced assurance, nicely balancing Bach style and 1930s period manners, and making light of all the left-hand skips needed to suggest Bach's organ pedal parts. An immaculate recording and Calum MacDonald's detailed notes enhance the disc's appeal' (BBC Music Magazine)

'Every so often a CD comes along that I simply can't stop playing. Here's one such example … glorious interpretations by Jonathan Plowright' (The Observer)

'There are some gems here … this is an invaluable addition to Hyperion's Bach Piano Transcriptions series and Plowright has done us an enormous service in resurrecting these transcriptions and in rendering them so eloquently' (International Record Review)

Wir glauben all an einen Gott, BWV740
doubtful attribution
commissioned by Harriet Cohen and first published by Oxford University Press in A Bach Book for Harriet Cohen; first performed at the Queen's Hall on 17 October 1932

Introduction  EnglishFrançaisDeutsch
William Gillies Whittaker (1876–1944), who at the time he was invited to contribute to the Bach Book was simultaneously Professor of Music at Glasgow University and Principal of the newly founded Scottish National Academy of Music, was a Northumbrian composer of quite progressive instincts (as his visionary setting of Psalm 139 for unaccompanied double chorus in 1924 attests) but was more celebrated as a scholar of early music. In addition to editing Bach he had founded the Newcastle Bach Choir and would eventually be known for his posthumously published standard study of all the Bach cantatas. In his otherwise restrained treatment of the chorale prelude Wir glauben all an einen Gott BWV740, Whittaker’s persistent accents on the melody notes rather seem to war against his marking Sempre dolcissimo e legato, but this in fact makes an interesting study in balance, since the pianist must maintain the serenely devotional mood throughout.

from notes by Calum MacDonald © 2010

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