Samuil Feinberg's Bach transcriptions are a remarkable contribution to music history and a fascinating discovery. They not only allow for a deeper understanding of Feinberg's personality as a composer and pianist, but also shed light on his diverse creative endeavors. The style Feinberg displays in his various fields of activity appears contradictory and multifaceted. Although his career as a musician and composer was repeatedly hampered by political events, he nevertheless enjoyed great respect as an artist in the Soviet Union.
Originally from Odessa, Feinberg initially aspired to study with Busoni, but instead found important teachers such as Schnabel and Lamond. Early on, he impressed his audiences with performances of Bach's piano works. He was particularly drawn to the field of transcriptions, with his arrangements of Bach's organ pieces holding a special place in Russia.
In his book "Piano Playing as Art," Feinberg reflects on the value of transcriptions. He particularly emphasizes the balance between individual creativity and fidelity to the original. His own working method is evident, for example, in his arrangement of the A minor Concerto, in which he artfully combined the sonic possibilities of the organ and piano.
Feinberg's arrangements of Bach's compositions reveal not only his technical mastery but also his innovative spirit. His pronounced musical sensitivity resulted in distinctive interpretations that enrich the original. Parallels can be drawn between Feinberg's artistic work and that of important figures such as Busoni.
Feinberg's transcriptions demonstrate the versatility and creative potential of his musical expression. His original approach to piano music, which is still considered a valuable contribution to music history, is particularly evident in these Bach arrangements.