Nadejda Vlaeva - J.S. Bach: Piano Transcriptions, Vol. 10 - Camille Saint-Saens, Isidore Philipp (2011)

Having given us some fascinating examples of re-imaginings of the Baroque composer’s works through the lenses of such formidable Romantic composers and arrangers as Busoni, Reger, Feinberg, Rummel, d’Albert, and others to date, Hyperion’s Bach Piano Transcription series has now, with the current offering, reached number 10. Featuring the reworkings of both Camille Saint-Saëns and Isidore Philipp, this is an intelligently programmed recital. Two larger suite-like collections of transcriptions by Saint-Saëns are composed of smaller items (from cantatas and solo violin movements), worked out in rather meticulous detail, with especially clear and transparent textures. Two larger works, transcriptions by Philipp of compositions by Bach, in turn inspired by Vivaldi concertos, are used in intermediary and concluding roles. Where Saint-Saëns’s textures are lean, Philipp’s are full-bodied, even thick at certain moments; the juxtaposition of the two transcriber’s works arranged in this way make the performance all the more coherent—almost like a true recital—in the creation of two halves of equal length, of equal importance, yet with enough variation to keep the listener’s interest. This is no small feat considering that these are all transcriptions of the same composer’s works.
Nadejda Vlaeva, a young Bulgarian pianist who has studied with some formidable teachers including Anton Dikov, Jan Wijn, Ruth Laredo, and Lazar Berman, possesses just the right temperament for this music. She works to bring out the special character of each selection. From the grandiosity of the D-Minor Concerto or the Ouverture, BWV 29, through the more lyrical and tender moments of the Adagio and Andantino movements (from the cantatas BWV 3 and 8, respectively), to the more lighthearted yet spirited playing of the dance-inspired movements from the solo violin works, Vlaeva always has a special sound in mind. This may be a truly romantic sound, but one need just listen to observe how well it works here. Given the rather talented pianists that Hyperion has chosen to record this series, it is only a wonder as to where they will go next. To which re-creative minds will this series now turn? That is a question to which I eagerly await an answer. As for the present: exceptional music, interesting transcriptions, clear sound, and excellent performances. Get it and enjoy your dose of 19th-century Bach. -- Scott Noriega