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Hyperion's Bach Transcriptions series shows Bach through the fascinating prism of the Romantic musical mind. This latest volume presents the complete transcriptions by Saint-Saëns, and the programme is interspersed with transcriptions by the elder composers friend and disciple, Isidore Philipp. Saint-Saëns was one of the many composers inspired by the continuing publications from the Bach-Gesellschaft, which made many of Bachs works available in print for the first time, particularly the extraordinary church cantatas. His transcriptions are of particular interest due to his choice of unfamiliar music that was not originally conceived for a keyboard instrument, and the care with which he has made the transcriptions. These are superbly effective piano realizations achieved with the minimum of intervention. Hyperion is thrilled to present the young Bulgarian pianist Nadejda Vlaeva in her label debut. She performs with a palpable energy and impressive technical assurance.
All in all,this is notably spontaneous sounding recording.Viaeva pushes all the right buttons and takes this significantl Hyperion project a step closer to its apothesis. --IRR,Nov'11
This young pianist's terrific CD bodes well for the future.Vlaeva handles them with clarity,unflappable virtuosity and relish. Performance ***** Recording ***** BBC MUSIC INSTRUMENTAL CHOICE --BBC Magazine,Christmas'11
This young pianist sits worthily alongside the clutch of fine players who have illuminated this brilliant literature of Bachiana. What else has Hyperion up its sleeve? --Gramophone,June'12
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You made a so-so bottle of Loire memorable. I have recordings of some
of the transcriptions played by angela hewitt and helen grimaud, yours
rock. I already ordered two more cd from the same series, tell hyperion
about this. By the way, I absolutely agree with prior remark about recent
dinnerstein release; after two listenings, it's already on my "gift" rack.
If you've never heard Ms. Vlaeva play, you should. Color, line, tone, touch, all of that is in abundance here. She makes the piano *sing,* something many of today's virtuosi have forgotten how to do because they're all interested in seeing who can play the Liszt Sonata the fastest and loudest. On one of her other albums, which I recommend highly, http://www.amazon.com/Nadejda-Vlaeva-plays-Liszt-Franz/dp/B00005M995/ref=sr_1_1?s=music&ie=UTF8&qid=1329773444&sr=1-1, she performs Liszt, but it's not the sonata, and much as I love that piece, I am glad it is not, because we already have enough recordings of it. Instead she focuses on Liszt works that don't get recorded so much and show a different side of a very stereotyped composer, and which rarely get played with such tone and feeling and intellectual depth.
Likewise, in the present CD, she finds pieces that will have you saying "Why don't we hear this more often?" Vlaeva concentrates on line and textures more than dazzling fingerwork, and the result is a CD that you return to repeatedly to find new delights. The Vivaldi/Bacg Concerto In A Minor, BWV 593 particularly stands out. This work captivates more every time it is heard. The Saint=Saens should be better known and of course the Bach Wir Danken Dir, Gott, Wir Danken Dir, BWV 29 is a blast, but she somehow makes it sound like a whole orchestra is having a conversation from her piano.
Hearing a pianist like her, I can't understand why a Simone Dinnerstein get a Sony recording contract. Listening to Dinnerstein's Bach and Schubert album recently, I literally zoned out, and wondered why people complain that classical music is "dull" and then buy faceless albums like that. This CD and others by Vlaeva are the antidote for the bland, sound-alike releases we've been getting from Sony and other big name labels recently. But since smaller labels don't engage in the hype that the bigger labels can, many people may bypass this recording, and will miss performances that are intelligent and which highlight the music and not the performer. Pity.