Despite everything, if we compare Liszt’s and Feinberg’s versions of the great Prelude and Fugue in E minor
, BWV548, it would initially appear that both were of the more literal and objective type: neither transcription suggests a tempo, and neither provides expressive indications or dynamics; this is the only one of Feinberg’s transcriptions to lack these instructions. In fact it is Liszt’s version that is more ascetic. Even for Feinberg, however, this is still a curious evolution, a bending of his conceptions in what was to be his very last Bach transcription.
from notes by Christophe Sirodeau © 2004
English: Andrew Barnett