1
Ouverture (Movement 1 of Wir danken dir, Gott, wir danken dir, BWV29)[3’52]arr. Camille Saint-Saëns (1835-1921)
2
Adagio (No 1, Coro (Choral) from Ach Gott, wie manches Herzeleid, BWV3)[4’29]arr. Camille Saint-Saëns (1835-1921)
3
Andantino (No 1, Coro of Liebster Gott, wenn werd ich sterben?, BWV8)[6’47]arr. Camille Saint-Saëns (1835-1921)
4
Bourrée (Movement 7 of Partita No 1 in B minor, BWV1002)[3’09]arr. Camille Saint-Saëns (1835-1921)
5
Andante (Movement 3 of Sonata No 2 in A minor, BWV1003)[4’57]arr. Camille Saint-Saëns (1835-1921)
6
Presto (Part 2 No 5 of Geist und Seele wird verwirret, BWV35)[3’17]arr. Camille Saint-Saëns (1835-1921)
Concerto in A minor RV522 BWV593[12’58]Antonio Vivaldi (1678-1741), arr. Johann Sebastian Bach (1685-1750) & Isidore Philipp (1863-1958)
7
Allegro maestoso[4’25]
8
Adagio[3’50]
9
Allegro[4’43]
BOOK II
10
Introduction et Air (Movement 1 of Denn du wirst meine Seele nicht in der Hölle lassen, BWV15)[2’52]Johann Ludwig Bach (1677-1731), arr. Camille Saint-Saëns (1835-1921)
11
Fugue (Movement 2 of Sonata No 3 in C major, BWV1005)[7’04]arr. Camille Saint-Saëns (1835-1921)
12
Largo (Movement 3 of Sonata No 3 in C major, BWV1005)[3’09]arr. Camille Saint-Saëns (1835-1921)
13
Récitatif et Air (Part 1 Nos 4 & 5, Recitativo – Aria of Freue dich, erlöste Schar, BWV30)[2’29]arr. Camille Saint-Saëns (1835-1921)
14
Gavotte (Movement 3 of Partita No 3 in E major, BWV1006)[2’55]arr. Camille Saint-Saëns (1835-1921)
15
Air (Part 2 No 7, Aria from Schwingt freudig euch empor, BWV36)[3’23]arr. Camille Saint-Saëns (1835-1921)
16
Chœur (Part 2 No 12, Coro of Freue dich, erlöste Schar, BWV30)[2’41]arr. Camille Saint-Saëns (1835-1921)
Concerto in D minor RV565 BWV596[13’05]Antonio Vivaldi (1678-1741), arr. Johann Sebastian Bach (1685-1750) & Isidore Philipp (1863-1958)
17
Molto tranquillo – Fuga: Moderato[6’32]
18
Largo e spiccato[3’18]
19
Allegro non troppo[3’15]
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 composer’s 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 Bach’s 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.
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