BACH-BUSONI: Piano Transcriptions
Johann Sebastian BACH (1685-1750) arr. Ferruccio BUSONI (1866-1924)
Prelude and Fugue in D, BWV 532; Chorale-Preludes: Komm, Gott Schöpfer! BWV 631, Wachet auf, ruft uns die Stimme BWV 645, Nun komm, der Heiden Heiland BWV 659, Nun freut euch, lieben Christen g’mein BWV 734, Ich ruf’ zu dir, Herr Jesu Christ BWV 639, Herr Gott, nun schleuss’ den Himmel auf BWV 617, Durch Adams Fall ist ganz verderbt BWV 637 & 705, In dir ist Freude BWV 615, Jesus Christus, unser Heiland BWV 665; Prelude and Fugue in E flat, BWV 552
Ákos Hernádi (pianoforte)
Recorded 17-19.2.1999, Hand Rosbaud Studio, Baden-Baden
ANTES Edition BM-CD 31.9137 [57: 19]
The collaboration of Johann Sebastian Bach and Ferruccio Busoni represents a unique confluence of baroque ingenuity and early 20th-century romanticism. Ákos Hernádi’s recording of these transcriptions invites us to reconsider the legacy of both composers through the lens of Busoni’s imaginative yet controversial interpretations.
Hernádi’s approach is distinctly romantic, as he encourages listeners to engage with these works not merely as transcriptions but as a celebration of piano sonority. Yet while his excitement is palpable, it is also a double-edged sword—one that raises questions about fidelity to Bach’s original intentions and the interpretative liberties taken by Busoni.
Busoni’s transcriptions are, in many ways, a reflection of his era’s belief in the reinterpretation of monumental works, yet they also resonate with a certain overzealousness. In the Prelude and Fugue in D, BWV 532, for instance, Hernádi’s interpretation is marred by excessive pedaling, which obscures the intricate counterpoint that is the hallmark of Bach’s writing. This tendency to blur lines is particularly detrimental in the E flat “St. Anne” Prelude, where Busoni’s cuts towards the end seem arbitrary, disrupting the narrative flow of the piece.
Conversely, Hernádi finds considerable success in “Nun freut euch, lieben Christen g’mein.” Here, he adeptly separates the running semiquavers from the chorale melody, capturing the essence of joy inherent in Bach’s work. The clarity of texture and the nuanced dynamics create a vibrant dialogue between the parts, epitomizing the celebratory nature of the chorale. This contrasts sharply with the muddied textures found in “Durch Adams Fall ist ganz verderbt,” where the use of pedal becomes problematic; the chromaticism in the inner parts leads to dissonance that detracts from the intended solemnity of the chorale.
In “Wachet auf,” Hernádi’s rendering stands out as a triumph. The noble singing quality he elicits from the chorale melody, layered over a rich bass, offers a refreshing counterpoint to the often overly fragmented interpretations that plague contemporary performances. This commitment to lyrical expression is a hallmark of Busoni’s vision, yet Hernádi’s execution provides a perfect marriage of both composers’ styles.
The engineering quality of the recording, produced at the Hand Rosbaud Studio in Baden-Baden, enhances Hernádi’s nuanced touch. The close miking captures the subtleties of his playing, allowing the listener to appreciate the variety of colors he conjures from the instrument. However, one might argue that an overly intimate recording can sometimes amplify the excesses of pedaling and blur the delineation of counterpoint.
Contextually, Busoni’s transcriptions emerged during a period of transition in classical music, where traditional forms were being re-evaluated in the light of new aesthetics. The dogmatism of “Urtext” advocates, which Hernádi cheekily references, seems less a threat today than a point of discussion. Indeed, it is this dialogue between historical fidelity and creative reinterpretation that gives these transcriptions their enduring significance.
In conclusion, Hernádi’s recording of Bach-Busoni is a mixed offering, showcasing moments of brilliance alongside choices that raise eyebrows. While his enthusiasm and interpretive flair shine through in several pieces, the inconsistencies suggest a need for greater restraint and clarity. This recording serves as a testament to the complex interplay of tradition and innovation, challenging listeners to navigate the intricate landscape of Bach’s legacy as reimagined by Busoni. As we reflect on these works, we are reminded that every interpretation is a dialogue—one that continues to evolve with each generation.
