All Around Bach

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From the outset, Simonian reveals his dazzling technique with blazing passagework and spirited rhythms in the fast movements of BWV 979, balanced with wistful and lyrical playing in the slow... — BBC Music Magazine, February 2021, 4 out of 5 stars More…

Release Date: 16th Oct 2020
Catalogue No: AVI8553026
Label: Avi Music
Length: 67 minutes

Usually despatched in 3 - 4 working days

Bach, J S: Keyboard Concerto in B minor (after Torelli), BWV 979

Work length9:32

$6.60

$9.00

Stepan Simonian

I. (Adagio). Allegro

Track length1:11

$1.10

$1.50

II. Adagio

Track length0:37

$1.10

$1.50

III. Allegro (Grave)

Track length2:46

$1.10

$1.50

IV. Andante

Track length1:19

$1.10

$1.50

V. (Adagio)

Track length0:41

$1.10

$1.50

VI. Allegro

Track length2:58

$1.10

$1.50

Bach, J S: Italian Concerto, BWV971

Work length12:56

$3.30

$4.50

Stepan Simonian

I. (Allegro)

Track length3:47

$1.10

$1.50

II. Andante

Track length5:39

$1.10

$1.50

III. Presto

Track length3:30

$1.10

$1.50

Busoni: Jesus Christus, unser Heiland BWV 665

Work length2:28

$1.10

$1.50

Stepan Simonian

Liszt: Fantasy & Fugue in G minor (J S Bach BWV542) for piano, S463

Work length10:37

$2.20

$3.00

Stepan Simonian

Phantasy (Arr.by Franz Liszt)

Track length5:30

$1.10

$1.50

Fugue (Arr.by Franz Liszt)

Track length5:07

$1.10

$1.50

Busoni: Nun freut euch, liebe Christen g'mein (Bach BWV 734)

Work length2:05

$1.10

$1.50

Stepan Simonian

Liszt: Fantasia & Fugue on B-A-C-H, S529

Work length10:57

$1.10

$1.50

Stepan Simonian

Busoni: Jesus Christus, unser Heiland BWV 665

Work length5:31

$1.10

$1.50

Stepan Simonian

Franck, C: Prélude, Fugue et Variation Op. 18

Work length10:51

$1.10

$1.50

Stepan Simonian, Asya Fateyeva

Kurtág: Gottes Zeit ist die allerbeste Zeit (after JS Bach)

Work length2:30

$1.10

$1.50

Stepan Simonian, Asya Fateyeva

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About

The second album by pianist Stepan Simonian on CAvi-music.

"Arrangements, paraphrases, copies in the music world, these are just a few of the terms that designate the same genre, which has probably existed as long as art itself. What is an arrangement? Is it more or less a copy of the original, or is it an independent work in its own right? How far can the arranger stray from the original? Who is the main author: the composer or the arranger? Even from a legal point of view, this subject is so complex that no clear answer has yet been found.

Throughout his life, Bach often arranged works by other composers and continually rearranged his own. This was something he found natural, and in his day and age it was nothing unusual. In the case of a great number of his works for keyboard, we are not sure whether they were intended for harpsichord, organ, or even clavichord. I have always found this subject of great importance: as a pianist, if one chooses the modern grand as the medium for these pieces, one is performing Bach exclusively in "arrangement" form.

In this context I decided to examine the creative interrelations among works by several composers separated by time and space: from Vivaldi to Busoni, from Bach to Franck and Liszt, in order to conceive a programme for this CD with the figure and the oeuvre of Bach as connecting element: "All Around Bach"(booklet notes by Stepan Simonian)

Critically acclaimed as "one of the great Bach interpreters of his generation", Stepan Simonian is driven by a yearning to explore and illuminate the multiple facets of the great works of piano repertoire, particularly by Schubert, Schumann, Brahms, Beethoven, Mozart, and Bach.

Reviews

February 2021

From the outset, Simonian reveals his dazzling technique with blazing passagework and spirited rhythms in the fast movements of BWV 979, balanced with wistful and lyrical playing in the slow movements. Here, and in the Italian Concerto, Simonian exploits the piano’s vast expressive range and the potential of its pedals to enhance dynamic and colouristic effects, offsetting a big, concert-hall sound with moments of hushed intimacy.

May/June 2021

[Liszt] Simonian’s reading is dramatic and fiery from the very beginning. His playing becomes more haunting in moments of transition, such as directly before the fugue proper where the instability of the passagework creates tension, one finally released at the appearance of the fugue theme. The fugue provides Simonian ample room to display his skills in every way. He easily handles the various contrapuntal strands, before the work gives way to every pianistic trick in the book.

All Around Bach

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