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Hyperion Records

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Front illustration by Donya Claire James (b?)
Track(s) taken from CDA67324
Forde Abbey, Somerset, United Kingdom
Release date: February 2002
Total duration: 15 minutes 20 seconds

'Nikolai Demidenko performs all the music here with admirable devotion … The playing throughout this enterprising recital cannot be faulted' (BBC Music Magazine)

'Demidenko plays them all with great panache and limitless technical command, clearly relishing the vast array of colour that Busoni's fertile imagination encourages' (The Guardian)

'[Demidenko's] performances capture the smouldering long lines and Gothic grandeur inherent in Busoni's textural transformations of the originals' (International Record Review)

'Enthusiastically recommended' (Fanfare, USA)

'From the opening notes of the Fantasia, Adagio and Fugue with which the CD begins there is a lightness, vivacity and ease to Demidenko’s playing which engages the attention' (Pianist)

'Demidenko’s full-blooded readings of the D major Prelude and Fugue BWV 532 and the monumental D minor Chaconne from BWV 1004 have the necessary tingle factor, backed by sensational recorded sound' (Music Week)

'Demidenko rend un somoptueux hommage à l’art de Busoni, dont ces compositions constituent elles-mêmes un vibrant hommage au génie de Bach' (Répertoire, France)

'Il [Nikolai Demidenko] possède une véritable affinité et une intelligence de cette musique, qui apparaît très claire, sinon toujours à son maximum d’éxpressivité. Voici une approche convaincante de ces transcriptions' (Classica, France)

'This is some of the most colossal piano playing I've ever heard. In its nobility, its grandeur, its multi-dimensionality and its astounding command of piano sonorities, it's worth the price of admission by itself' (Piano, Germany)

Fantasia in C minor, BWV906
composer

Other recordings available for download
Angela Hewitt (piano)
Introduction  EnglishFrançaisDeutsch
The Fantasia in C minor begins with tremendous force and decision. Its energy comes from three motifs: a descending arpeggio in the right hand (which soon becomes, in the left hand, an ascending one), an octave leap, and a rattling trill. In the fifth bar Bach introduces two more fragments—a chromatic scale and a playful leaping figure—both of which play major roles later on (the latter appearing in a treacherous passage close to the end where many a player will come to grief!). Much of its appeal lies in the sections that require hand-crossing—both the Italian type (using large skips), and in the French manner (one hand playing within the span of the other). Written sometime around 1738, this work must surely have influenced Bach’s son, Carl Philipp Emanuel in his development of sonata form.

from notes by Angela Hewitt © 1994


Other albums featuring this work
'Bach: Angela Hewitt plays Bach' (CDS44421/35)
Bach: Angela Hewitt plays Bach
MP3 £45.00FLAC £45.00ALAC £45.00Buy by post £50.00 CDS44421/35  15CDs Boxed set (at a special price)  
'Bach: The Inventions' (CDA66746)
Bach: The Inventions

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