Bach-liszt : Fantasia & Fugue G Minor Bwv542 - Shura Cherkassky -

Cherkassky’s approach to the Fugue is equally distinctive. While he maintains the necessary clarity to follow Bach’s intricate counterpoint, he avoids the dry, "sewing-machine" rhythm that plagues many Bach performances. Instead, he finds the lilt and the dance within the subject. His legendary finger independence allows each voice to retain its own character and color. Most notably, Cherkassky’s use of the pedal is a study in subtlety; he manages to create a wash of sound that mimics an original church acoustic without ever muddying the essential harmonies of the fugue.

In conclusion, the Bach-Liszt Fantasia and Fugue in G minor as performed by Shura Cherkassky remains a cornerstone of the recorded piano repertoire. It serves as a reminder that the piano is a multi-faceted instrument capable of echoing the divine scale of the organ. Cherkassky’s interpretation stands as a testament to an era of pianism where personality and beauty of tone were the ultimate goals, ensuring that Bach’s 18th-century masterpiece continues to resonate with modern audiences through a 19th-century lens. Cherkassky’s approach to the Fugue is equally distinctive

The transcription of Johann Sebastian Bach’s organ works for the piano represents a unique intersection of Baroque architecture and Romantic virtuosity. Among the most celebrated of these transformations is Franz Liszt’s arrangement of the Fantasia and Fugue in G minor, BWV 542. Originally conceived for the "Great" organ, the work finds a new, more intimate yet equally explosive life under the fingers of a pianist. To hear this work performed by Shura Cherkassky is to witness a masterclass in tonal color, spontaneity, and the preservation of the "grand style" of piano playing. His legendary finger independence allows each voice to