Kabalevsky’s transcription of Bach’s lofty Toccata and Fugue in D minor
BWV538, the so-called ‘Dorian’, would do nothing to enhance his reputation for subtlety or sensitivity. Clearly in thrall to the organ’s mighty couplers and sheer horsepower, he duplicates voices in the four-part fugue to the point where the pianist is struggling with eight. But he had the popular touch (which so endeared him to his political masters) and there is no denying the thrilling power of his climaxes.
from notes by Hamish Milne © 2005