The synergy between Bach’s genius, Liszt’s transformative vision, and Cherkassky’s idiosyncratic brilliance results in a performance that feels both timeless and fresh. Cherkassky does not merely play the notes; he orchestrates them. He understands that Liszt’s transcription is not just a copy of Bach, but a commentary on him. By emphasizing the Romantic possibilities of the score—the sudden shifts in mood, the highlighting of inner voices, and the grand, arching phrasing—Cherkassky honors the spirit of both the composer and the arranger.
The Fantasia and Fugue in G minor is often cited as one of Bach’s most daring compositions. The Fantasia is characterized by its bold chromaticism, dramatic pauses, and recitative-like passages that push the boundaries of 18th-century harmony. It is a work of immense emotional weight and improvisational flair. The Fugue, by contrast, is a marvel of rhythmic drive and structural clarity, based on a folk-like, dancing subject that Bach weaves into a complex polyphonic tapestry. Liszt, ever the champion of Bach, sought to translate the sonic mass of the organ—its pedals, multiple manuals, and sustained pipes—into the percussive and decaying language of the piano. He succeeded by utilizing wide spans, octave doublings, and a deep understanding of the piano’s resonance. By emphasizing the Romantic possibilities of the score—the
Shura Cherkassky, a late representative of the Romantic tradition of piano playing, brings a singular perspective to this arrangement. A pupil of Josef Hofmann, Cherkassky was known for his "in-the-moment" artistry, often making interpretive choices during a live performance that differed from his previous takes. In the Bach-Liszt BWV 542, this unpredictability serves the Fantasia particularly well. Where a modern, literalist pianist might prioritize a metronomic precision, Cherkassky treats the Fantasia as a living, breathing declamation. He utilizes a vast palette of dynamics, making the piano roar like an organ in the fortissimo chords and then whisper in the wandering chromatic lines. It is a work of immense emotional weight