Ronald Stevenson, a Scottish composer and pianist considered a master of piano transcriptions, criticized early 20th-century British composers and Herbert Fryer's arrangements of Bach for cello. In his view, these works lacked the quality of "true piano music," drawing parallels to Ferruccio Busoni's arrangement style.
The "Bach Book for Harriet Cohen" originated from an initiative by the pianist Harriet Cohen, who invited prominent composers from her circle of acquaintances to transcribe works by Bach. Although not all of the composers contacted participated, twelve musicians ultimately contributed arrangements dedicated to Cohen. The work premiered in London in 1932.
Among the participating British composers were Lord Berners, Arthur Bliss, Frank Bridge, Eugene Goossens, and Herbert Howells. Their contributions showcase a range of stylistic approaches—from elegant arpeggios and powerful chord progressions to delicate figurations.
Ralph Vaughan Williams's arrangement of the chorale "Ach bleib' bei uns, Herr Jesu Christ" (BWV 649) occupies a special place in the collection. This transcription impresses with the composer's personal touch, as he enriched the original work with his own ideas and reinterpreted it in his characteristic style. The larger pieces in the collection offer diverse interpretive possibilities and a rich artistic experience.
Numerous other composers, such as Leonard Borwick, William Walton, John Ireland, Myra Hess, Ronald Stevenson, and Hubert Foss, also contributed remarkable transcriptions. The spectrum ranges from strictly contrapuntal renderings to harmonically complex reinterpretations of Bach's originals.
The breadth of contributions in the "Bach Book" illustrates the creative diversity of early modern British composers and offers a fascinating glimpse into different approaches to transcribing Bach's music.