Transcriptions of works of J.S. Bach for piano four hands by Gyorgy Kurtag, F.X. Gleichauf, and Max Reger.

The title of the album also alludes to the difficult hand crossings that Kurtág requires the performers to implement in his four hand transcriptions, as demonstrated on track one, Gottes Zeit ist die allerbeste Zeit from Cantata BWV 106, where the melody is played entirely with the arms crossed. The whimsical configuration of hand crossings in Gott, durch deine Güte, BWV 600 is visualized in the cover photo of the album. Of the fourteen Bach transcriptions represented here, three are by other important Bach transcribers: Franz Xaver Gleichauf and Max Reger, who represent a crossing of various approaches to Bach transcribing over the last two centuries. Two delightful “encores”, correntes by Girolamo Frescobaldi transcribed by Kurtág, pay homage to one of Bach’s sources of inspiration.

R E V I E W S:

"...a crossing of paths, crossing of minds and inspirations. The music of Johann Sebastian Bach is recast and given new light by one of the most creative living composers of our time, György Kurtág, and one who is obsessed with Bach... the sound is both modern and grand, strange yet familiar, just the thing for jaded Bachians. At the end the Duo throw in two Kurtág arrangements of Frescobaldi at his most delectable." - Laurence Vittes, Huffington Post [3/31/12]

“These well-matched artists found considerable expressive depth in Kurtág’s version of the Sonatina…The rapport between Ho and Ahuvia was readily apparent throughout their portion of the program; their music- making placed added value on elegance and subtlety” – The Baltimore Sun

“The duo gave beautifully understated performances” – The New York Times

When György Kurtág sets out to transcribe Bach for himself and his wife to play on the piano, something special happens: the fragile wit of Kurtág is married to the eternal genius of Bach and, unbelievably, something even greater than the individual parts emerges. Piano duo Stephanie Ho and Saar Ahuvia must feel similarly about them, focusing on Kurtág transcriptions (alongside some of Reger et al.), in their delightful album, Bach Crossings. The performances are a few percentage points short of perfection, but the music isn’t. Bach–Kurtág is a bit like getting God injected into the ears.

– Jens F. Laurson, Listen