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Hyperion Records

Click cover art to view larger version
Front illustration by Donya Claire James (b?)
Track(s) taken from CDA67344
Recording details: May 2002
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Arne Akselberg
Release date: April 2003
Total duration: 5 minutes 31 seconds

'Could hardly be more exhilarating or enterprising … a memorable as well as enticing disc' (Gramophone)

'Lane commands the golden tone and effortless, spirited virtuosity needed to make these transcriptions come alive, and makes them sound easy to boot. A honey of a release' (BBC Music Magazine)

'This is wonderfully crafted piano music, marvellously executed by Lane … the playing is always supremely fluid and musically enquiring … this is another fascinating release from Hyperion' (International Record Review)

'A truly fascinating disc … Lane clearly relishes in the amusing challenges, but he also makes you wonder at the immensity of Bach’s genius' (Classic FM Magazine)

'Wonderful music, consummately transcribed and movingly played' (International Piano)

'Piers Lane succombe à ce charme, et nous avec lui' (Classica, France)

Nun komm, der Heiden Heiland, BWV659
composer
1708/17; revised into Leipzig Chorales collection, the '18' circa 1744/7
arranger

Introduction  EnglishFrançaisDeutsch
Chorale Preludes may be seen as another form of transcription, since the themes on which they are based appear finally as part of a more elaborate and complex composition.

Bach set ‘Nun komm, der Heiden Heiland’ several times: it opens Cantatas 61 and 62 and appears as a duet in Cantata 36. There are five settings as a chorale prelude, and Friedman chooses the slowest and most expressive of them, heading it ‘Largo, maestoso e molto serioso’. His transcription follows the text quite faithfully, except for an odd little alteration of the inner voices in the last bar, and the words (a Lutherian translation of the Latin text) are beautifully mirrored ‘come, redeemer of mankind, whose birth … came from God to be the wonder of all the world’. The transcription inhabits very much the same world as Busoni’s.

from notes by Piers Lane © 2003

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