Album insights
British composers who worked on piano compositions have been criticized by composer and pianist Ronald Stevenson for lacking skill, as seen in the album A Bach Book for Harriet Cohen. Stevenson's critique, shared with critic Colin Scott-Sutherland in 1982, focused on the insufficiency of these composers' piano writing abilities. He emphasized that despite the faithfulness (or lack thereof) of Herbert Fryer's transcriptions of Bach's cello works, they do not qualify as genuine piano music according to him. Comparisons were made to the treatment of certain passages by Ferruccio Busoni, a distinguished Bach-transcriber.
Stevenson's harsh comments highlighted the unique perspective of a renowned modern piano transcription expert, who has transcribed over 300 works from at least 85 composers. Nevertheless, the Bach transcriptions by early 20th-century British composers should be viewed as distinct from the Busonian tradition. These pieces offer insight into music emerging under German influence in London's conservatories and reflecting the neoclassical aesthetics of the 1920s, combining diversity, stimulation, and artistry. A Bach Book for Harriet Cohen stands out as a captivating anthology of British transcription practices between the two World Wars.
In 1931, the charismatic pianist Harriet Cohen invited significant composer friends to create arrangements of Bach's works for an album to be published by the Oxford University Press. Despite some composers failing to deliver, twelve did contribute arrangements dedicated to her. The premiere of her Bach Book took place on October 17, 1932, at London's Queen's Hall.
The lineup, organized alphabetically by composers, began with Sir Granville Bantock's version of the chorale Wachet auf, ruft uns die Stimme BWV645. The utilization of wide intervals in the left hand during the initial presentation of the chorale melody was a target of ridicule in Ronald Stevenson's previously quoted letter. Stevenson unfavorably compared Bantock's contribution to Busoni's well-known arrangement of the same piece. Bantock's adaptation, later orchestrated for a small ensemble in 1945, featured successful elements such as pastoral sextuplets and a supportive foundation of third-based figuration.
Various composers opted for relatively shorter pieces for the Bach Book, with a preference for chorales. Arnold Bax's arrangement, selecting the central segment of the Fantasia in G major BWV572, was a notable exception. Bax's choice of a secular organ work pointed to a potential independent transcription that pre-dated the Bach Book concept. The manuscript bore the date "Xmas 1927" and was dedicated to "For Tania," possibly an early Christmas present for Harriet Cohen.
Each composer brought a unique perspective to their Bach transcriptions. Works by Lord Berners, Arthur Bliss, Frank Bridge, Eugene Goossens, Herbert Howells, and John Ireland showcased innovative adaptations of Bach's original compositions. Of special note was Ralph Vaughan Williams's magnificent interpretation of Ach bleib' bei uns, Herr Jesu Christ BWV649, highlighting his deep admiration for Harriet Cohen's musical contributions.
The Bach Book featured a variety of interpretation styles, ranging from serious to humorous, revealing the diverse talents and influences of the British composers involved. From Vaughan Williams's profound elegance to William Walton's skillful arrangement, each transcription reflected the composer's individual approach to transforming Bach's timeless works into captivating piano adaptations.
Leonard Borwick's contributions, exemplifying dry counterpoint and effective octave utilization, added a classical touch to the collection. Herbert Fryer's second-hand transcription of Leopold Stokowki's orchestral adaptation of Bach's works stood out for its rich orchestral colors artfully transcribed for solo piano performance.
The collaborative effort behind the Bach Book shed light on the remarkable creativity and expertise of British composers from the early 20th century. Their interpretations of Bach's music, though diverse and at times unconventional, contribute to a rich tapestry of piano transcription history.
Calum MacDonald © 2010