Bach Transcriptions and Australian Piano Music


Catalogue No: DDA 25005
EAN/UPC: 5028117500522
Composers: , , ,
Release Date: March 1997
Genres: ,
Periods: ,
Discs: 1
Total Playing Time: 58:04

The first recording for some twenty years by a performer whose pioneering version of the Bliss Piano Concerto for EMI in the 1960s (now re-issued on Diversions DDV 24106) drew undiluted praise. Trevor plays the great Bach/Busoni transcriptions, Myra Hess’ version of “Jesu, Joy of Man’s Desiring” and (for the first time on CD) works by Australian composers Margaret Sutherland Felix Werder and Nigel Butterley.

Track Listing

Johann Sebastian Bach/Ferruccio Busoni:

    1. Chaconne from Partita no 2 in D, BWV1004 (14:29)

Johann Sebastian Bach/Myra Hess:

    1. Jesu, Joy of Man’s Desiring (3:50)

Margaret Sutherland:

    1. Chorale Prelude: “Herzliebster Jesu” (2:42)
    2. Chorale Prelude: “Jesu, meine Freude” (2:53)
    3. I. First Suite − The Adventurer (0:56)
    4. II. First Suite − The Dreamer (1:26)
    5. III. First Suite − The Bustler (0:31)
    6. IV. First Suite − The Humorist (0:36)
    7. I. Second Suite − The Quest (1:32)
    8. II. Second Suite − Chorale Prelude (1:36)
    9. III. Second Suite − The Mirage (1:25)
    10. IV. Second Suite − Lavender Girl (2:41)

Felix Werder:

    1. I. Three Pieces after Blake’s Songs of Innocence and Experience − Introduction (1:29)
    2. II. Three Pieces after Blake’s Songs of Innocence and Experience − Spring (2:56)
    3. III. Three Pieces after Blake’s Songs of Innocence and Experience − The Sick Rose (4:27)

Nigel Butterley:

    1. Comment on a Popular Song (1:34)

Johann Sebastian Bach/Ferruccio Busonil:

  1. Organ Prelude and Fugue in D, BWV 532 (12:22)



Bach Transcriptions and Modern Australian Piano Music may not be the kind of title to bring in the curious outsider – it sounds rather like something for the specialist – but you’ll find this disc repays investigation. Trevor Barnard, British-born, briefly US-resident, and Australian-based since 1972, dispatches his Bach transcriptions with aplomb, but the real […]

” —Martin Anderson