Ascribing Differences 1

BV B 27: No. 3, Nun komm, der Heiden Heiland, BWV 659

We’re going to spend a few weeks contrasting two pianists interpreting the same piece. This week we’re looking at the Bach-Busoni composition Nun komm, der Heiden Heiland. This piece was originally written by Bach for organ, and Busoni, a composer from the romantic period, transcribed it for piano. It is a contemplative piece, with the typical Baroque movement and soundscape. We’re listening to two performances by respected pianists Igor Levit and Evgeny Kissin.

Levit’s interpretation is decidedly faster, shorter by almost two minutes. This is helpful in two specific ways: it allows the melody to be heard more definitely, because there isn’t so much space between notes and phrases. It is more a wash of sound—a movement where we simply move with the music rather than having our attention called to much outside of the melody.

Kissin’s interpterion feels more thoughtful, plodding, and painful. It gives him ample opportunity to bring out contrasting melodies we might have missed in Levit’s performance. The bass is brought out more, and the melody has more of a chance to ring and connect with us. It’s also worth noting that Kissin is giving a live performance. Perhaps he could have played it faster but the slow pace felt right for the time and audience.