Víkingur Ólafsson – Bach Reworks - 2019 Classical Minimal Piano - Sealed 180 Grm LP
Víkingur Ólafsson – Bach Reworks
Deutsche Grammophon – 00289 483 5831
Vinyl, LP, Album
180g heavyweight vinyl pressing.
Includes download voucher.
Apr 26, 2019
A1 Víkingur Ólafsson– For Jóhann 3:04
A2 Valgeir Sigurðsson & Víkingur Ólafsson– Prelude, BWV 855a - Valgeir Sigurðsson Rework 4:40
A3 Víkingur Ólafsson– Prelude In G Major 3:54
A4 Peter Gregson & Víkingur Ólafsson– Above And Below, B Minor 3:02
A5 Ben Frost & Víkingur Ólafsson– Prelude, BWV 855a - Ben Frost Ladder Mix 6:06
B1 Víkingur Ólafsson– Aria From Widerstehe Doch Der Sünde, BWV 54 4:26
B2 Ryuichi Sakamoto & Víkingur Ólafsson– BWV 974 - II Adagio - Rework 5:19
B3 Hildur Guðnadóttir– Minor C Variation 3:09
B4 Víkingur Ólafsson– ...And At The Hour Of Death 2:33
B5 Hans-Joachim Roedelius, Thomas Rabitsch & Víkingur Ólafsson– Bach Mit Zumutungen 3:45
B6 Skúli Sverrisson & Víkingur Ólafsson– Kyriena 2:57
B7 Víkingur Ólafsson– Sonatina From Gottes Zeit Ist Die Allerbeste Zeit, BWV 106 2:09
Design – Helga Gerður Magnúsdóttir
Photography By – Ari Magg
Ⓟ 2019 Deutche Grammophon GmbH
Stralauer Allee 1, 10245 Berlin
A Universal Music Company
Made in the EU
Barcode and Other Identifiers
Barcode: 0 28948 35831 1
Label Code: LC 0173
"In terms of pianistic lineage, Ólafsson combines the fantasy of Maria João Pires and Martha Argerich with the contrapuntal élan of Piotr Anderszewski. But he is very much his own man, mixing original Bach with transcriptions that range from Stradal, Busoni and Rachmaninov via Kempff to the present day, with Ólafsson’s own rethinking of the luscious aria from the solo alto Cantata No 54, ‘Widerstehe doch der Sünde’, in which he channels the great transcribers of old, using left-hand octaves to give it a grounded feeling, and choosing a measured tempo more akin to Alfred Deller than Andreas Scholl.
Ólafsson’s notes tell of his discovery of Bach pianists as different as Edwin Fischer, Rosalyn Tureck, Dinu Lipatti, Glenn Gould and Martha Argerich. From this, he has found his own way with Bach – highly individual but never mannered. His account of Kempff’s transcription of the chorale prelude Nun freut euch is less anchored by the chorale tune itself and more flighty in effect than Kempff’s own performances (Eloquence). I like the way that Ólafsson alternates original Bach with the transcriptions, so that Stradal’s take on the middle movement of Bach’s Fourth Organ Sonata (given here with generous use of sustaining pedal to create a poetic ambience) is followed by a refreshingly airborne account of the D major Prelude from Book 1 of The Well-Tempered Clavier, while its Fugue melds clarity with nobility. After this comes the Busoni version of another chorale prelude, Nun komm der Heiden Heiland, which unfolds more naturally than in Demidenko’s hands (Hyperion). We then get another dash of cold water in the C minor Prelude and Fugue from Book 1. The Prelude is judged to perfection, combining energy and brilliance, the Fugue a model of crisp detail.
And so it continues: almost as if Ólafsson is offering different angles on the statue of Bach that he keeps by his piano – one that ‘looks like wisdom incarnate, stern-faced and majestic in its wig’. He brings considerable character to the theme of the Aria variata, tending to choose faster tempos than Angela Hewitt (Hyperion, 10/04), to thrilling effect in Variations 2, 7 and 9, while Var 6 has a limpid beauty. Even an outwardly simple piece such as the A major Invention, BWV783, is full of interest, the energy infectiously joyous, the trills razor-sharp.( UK Gramophone)
|Format||LP, 180 Gram|
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