- Toccata and Fugue, for organ in D minor, BWV 565 (BC J37)
- Pastorale for organ in F major, BWV 590 (BC J81)
- Partita for solo violin No. 1 in B minor, BWV 1002: Bourrée
- Cantata No. 208, "Was mir behagt," (Hunt Cantata), BWV 208 (BC G1, G3): Schafe können sicher weiden (Sheep May Safely Graz
- Wachet auf, ruft uns die Stimme, chorale prelude for organ (Schübler Chorale No. 1), BWV 645 (BC K22): Morgenlied (Version 2)
- Cantata No. 68, "Also hat Gott die Welt geliebt," BWV 68 (BC A86): Mein gläubiges Herze, frohlocke, sing', scherze (M
- Brandenburg Concerto No. 3 in G major, BWV 1048: Allegro
- Sonata for flute & keyboard in E flat major, BWV 1031: Siciliano
- Partita for solo violin No. 3 in E major, BWV 1006: Gavotte en Rondeau
- Wachet auf, ruft uns die Stimme, chorale prelude for organ (Schübler Chorale No. 1), BWV 645 (BC K22): Morgenlied (Version 1)
- Nun komm der Heiden Heiland (II), chorale prelude for organ (Achtzehn Choräle No. 8), BWV 659 (BC K82)
- Trio Sonata for organ No. 6 in G major, BWV 530 (BC J6)
The "transcriptions" here by Ignaz Friedman, Dinu Lipatti, and Béla Bartók of J.S. Bach works fall somewhere right in the middle of the extremes of a straightforward transference of notes from one instrumentation to another and a complete reworking of original musical ideas. Friedman's arrangements are decidedly Romantic in flavor. The "Toccata and Fugue in D minor" bring to mind Stokowski's orchestration of the same work. In the way Stokowski took advantage of the timbres available in the different instruments, Friedman takes advantage of the piano's capabilities, particularly of rapid repetition of notes. The excerpts from the solo "Violin Partitas" are intriguing, given that what was essentially a single line of music is transformed into a complexity of melody and harmonies. The Gavotte from the "Partita No. 3" is grandiose, with quirky harmonies thrown in to make it fascinatingly different. Bartók also very occasionally sneaks extra harmony into the "Organ Sonata No. 6," although there is plenty for the two hands to do once the organ pedal line is added. Malan's performance isn't flawless, sounding at times as if her hands just aren't quite big enough to cover all the notes required, but she does an extremely creditable job with them technically. Musically she responds to the dramatic, Romantic nature of the arrangements without overdoing it. Particularly in Lipatti's arrangement of the "Pastorale," which itself is more of a simple transcription than the other pieces here. More of what you would imagine was Bach's original musical intent is evident in it. This is the first recording of some of these arrangements, and it's good that they will not be lost forever like other concert pianists' reinterpretations of earlier works.
Most Helpful Customer Reviews
This is one of my favourite recordings of all time. I can't recommend it high enough. Ms. Malan also released Transfigured Mozart. Another worthy addition. You won't be disappointed.