Composer: J.S. Bach
Works: Favourite Piano Transcriptions by Wilhelm Kempff, including Chorale Preludes, Flute Sonata No. 2, Cantata selections, and English/French Suites
Performers: Wilhelm Kempff, piano
Recording: 1976
Label: Deutsche Grammophon
The transcriptions of Johann Sebastian Bach’s works have long occupied a unique space in the classical canon, often straddling the line between reverence for the original and the creative reinterpretation that transcribing necessitates. Wilhelm Kempff, a pianist whose artistry blossomed in the early 20th century, offers a compelling vision of Bach through his piano transcriptions. This recording, encapsulating a selection from both sacred and secular realms, reminds listeners of the profound adaptability of Bach’s music, even as it highlights Kempff’s distinctive interpretative lens.
Kempff’s approach to Bach is marked by a refined nobility and a sensitivity that seeks to illuminate the profound emotional undercurrents of the music. In “Nun komm, der Heiden Heiland,” the opening piece, Kempff’s performance embodies a gravity that is both wise and tactful, setting a tone of introspection. His left hand plays a crucial role, guiding the listener through the intricate harmonies with a subtlety that is particularly striking. Such control is evident in “Es ist gewisslich an der Zeit,” where the flowing lines are propelled with a deftness that allows the melody to breathe without ever losing momentum.
The transcription of “Jesu, Joy of Man’s Desiring” presents an intriguing contrast to Myra Hess’s more familiar interpretation. Here, Kempff’s left hand becomes increasingly assertive, introducing a complexity that diverges from the traditional serene portrayal. This transformation culminates in a climactic moment where the sonority shifts dramatically, revealing unexpected tensions that evoke a potent emotional response. It is akin to witnessing a familiar figure reveal a more passionate side, enriching the listener’s understanding of the work.
Kempff’s treatment of “Wir danken dir, Gott, wir danken dir” offers yet another layer of insight into his interpretative philosophy. The bell-like clangor he introduces conveys a celebratory yet reflective spirit, juxtaposed with the text’s essence. Unlike many of his contemporaries, who might emphasize a more fragmented approach, Kempff seeks wholeness, emphasizing the confluence of voices rather than their divergence. This is particularly evident in “Wachet auf, ruft uns die Stimme,” where his integration of left and right hand creates a seamless dialogue, contrasting starkly with the Busoni transcriptions that often revel in dramatic clashes.
The recording’s sound quality is equally worthy of note, with Deutsche Grammophon capturing the nuanced tonal palette of Kempff’s playing. The engineering allows for a clarity that showcases the intricate details of his touch, particularly in the Largo from the Harpsichord Concerto, where the depth of tone resonates beautifully against the airy textures of the original instrumentation. Kempff’s interpretative choices in the English Suite No. 3 and French Suite No. 5 further illustrate his clear articulation and expressive phrasing, eschewing excessive dramatization in favor of a more contemplative and lyrical approach.
Kempff’s pianism, recorded over a quarter-century ago, remains fresh and vital; his stature continues to grow as a testament to the enduring power of his interpretations. Each selection on this disc serves not just as a transcription but as a thoughtful meditation on Bach’s music, demonstrating Kempff’s ability to distill the essence of these works into an idiom that is distinctly his own. The album stands as a compelling invitation to reconsider Bach’s music through the lens of one of the 20th century’s great interpreters, affirming that Kempff’s insights are as relevant today as they were at the time of recording.
