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Prelude and Fugue in E minor 'The wedge', BWV548

composer

 
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

Malgré tout, si l’on compare les versions de Liszt et Feinberg du grand Prélude et Fugue en mi mineur, BWV548 il semble à première vue qu’elles soient toutes deux d’un type plus littéral et objectif car ni l’une ni l’autre ne proposent ni Tempi, ni indications de caractère ni nuances, et c’est la seule pièce transcrite par Feinberg qui présente ces caractéristiques. C’est en fait la version de Liszt qui reste la plus ascétique. Mais même pour Feinberg, il s’agit tout de même d’une évolution curieuse et d’un infléchissement de ses conceptions pour ce qui devait être sa toute dernière transcription de Bach.

extrait des notes rédigées par Christophe Sirodeau © 2004

Trotz des Gesagten scheint Feinbergs Transkription des großartigen Werkpaars Präludium und Fuge in e-Moll, BWV548 beim ersten Hören doch eher der textgetreueren und objektiveren Sorte anzugehören, wie übrigens Liszts Version desselben Werkes auch: Keine dieser Versionen schlägt ein Tempo vor, und keine enthält Aufführungshinweise zur ausdrucksmäßigen Gestaltung oder Dynamik. Nun ist das die einzige Transkription Feinbergs, in der solche Hinweise fehlen, und eigentlich ist Liszts Version die asketischere. Aber selbst für Feinberg ist das eine merkwürdige Entwicklung, eine Wandlung seiner Konzeptionen in einer Arbeit, die sich als seine letzte Bach-Transkription herausstellen sollte.

aus dem Begleittext von Christophe Sirodeau © 2004
Deutsch: Elke Hockings

Recordings

Bach: Great Fantasias, Preludes & Fugues
CDD220622CDs Dyad (2 for the price of 1)
Bach: Piano Transcriptions, Vol. 4 – Samuel Feinberg
CDA674682CDs for the price of 1
Bach: Piano Transcriptions, Vol. 7 – Max Reger
CDA676832CDs for the price of 1
Bach: The Complete Organ Works
CDS44121/3616CDs Boxed set (at a special price) — Deleted

Details

Movement 1: Prelude
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Track 1 on CDA67468 CD1 [6'03] 2CDs for the price of 1
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Track 1 on CDA67683 CD2 [7'35] 2CDs for the price of 1
Track 4 on CDD22062 CD2 [6'13] 2CDs Dyad (2 for the price of 1)
Track 4 on CDS44121/36 CD3 [6'13] 16CDs Boxed set (at a special price) — Deleted
Movement 2: Fugue
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Track 2 on CDA67468 CD1 [7'18] 2CDs for the price of 1
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Track 2 on CDA67683 CD2 [8'53] 2CDs for the price of 1
Track 5 on CDD22062 CD2 [7'36] 2CDs Dyad (2 for the price of 1)
Track 5 on CDS44121/36 CD3 [7'36] 16CDs Boxed set (at a special price) — Deleted

Track-specific metadata for CDA67468 disc 1 track 2

Fugue
Artists
ISRC
GB-AJY-04-46802
Duration
7'18
Recording date
3 December 2003
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Jeremy Hayes
Recording engineer
Tony Faulkner
Hyperion usage
  1. Bach: Piano Transcriptions, Vol. 4 – Samuel Feinberg (CDA67468)
    Disc 1 Track 2
    Release date: September 2004
    2CDs for the price of 1
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