Johann Sebastian Bach (1685 – 1750)
transcribed by Ferruccio Busoni (1866 – 1924)
Chaconne in D minor, BWV 1004

The recital begins with Bach’s Chaconne in D minor, originally written for solo violin as part of his Partita No. 2 in D minor. It stands as one of the most profound and challenging pieces in the violin repertoire, revered for its complexity and emotional depth. The Chaconne is a continuous set of variations built on a recurring bass line. Ferruccio Busoni’s piano transcription, however, transforms the work into a monumental piece for the modern piano, expanding its expressive range while preserving the structural integrity of Bach’s original.

Busoni’s arrangement maintains the spiritual grandeur of the piece, while using the full capabilities of the piano to capture the varying moods—ranging from brooding introspection to moments of exultant triumph. Busoni, himself a towering figure in piano music, once described the Chaconne as “a piece touched by God,” and his transcription reflects his deep reverence for the work. In Gulyak’s hands, the Chaconne will resonate with both clarity and depth, bringing out the tension between the Baroque aesthetic and the expansive Romantic idiom that Busoni embraced.

César Franck (1822 – 1890)
arranged by Harold Bauer (1873 – 1951)
Prelude, Fugue, and Variation in B minor, Op. 18

Originally composed for organ, Franck’s Prelude, Fugue, and Variation is one of his most beloved works. Harold Bauer’s transcription for piano preserves the flowing lyricism and intricate counterpoint of the original, while allowing the pianist to explore the rich tonal possibilities of the piano. The piece opens with a gentle, contemplative prelude that sets a meditative tone. Franck’s distinctive harmonic language, with its warm modulations, is particularly evident here, invoking a sense of intimacy and spirituality.

The fugue that follows is a model of clarity, with its subject elegantly developed and passed between voices. The final variation brings the work to a serene and graceful conclusion. Throughout the piece, Franck's trademark blend of French lyricism and Germanic structural rigor is evident, and Gulyak’s performance will undoubtedly highlight the delicate balance between these two stylistic influences.

Johann Sebastian Bach (1685 – 1750)
transcribed by Ferruccio Busoni (1866 – 1924)
Nun komm der Heiden Heiland, Chorale Prelude, BWV 659
Toccata and Fugue in D minor, BWV 565

Bach’s chorale prelude Nun komm der Heiden Heiland (Now Come, Savior of the Heathen) is a reflective, solemn meditation on the Advent hymn. Busoni’s transcription intensifies the emotional and spiritual weight of the piece, adding dynamic contrasts and rich harmonies that enhance the work’s contemplative character. This transcription retains the hymn’s sacred dignity while expanding its resonance on the piano, allowing for a broader range of expression. Gulyak will undoubtedly bring out the quiet intensity and introspective beauty of this piece, making it a poignant moment in the recital.

The Toccata and Fugue in D minor is one of Bach’s most famous organ works, immediately recognizable for its dramatic opening. Busoni’s transcription captures the overwhelming power and virtuosity of the original, while transferring its intricate counterpoint and bold gestures to the piano. The Toccata’s cascading scales and rapid arpeggios provide a thrilling display of pianistic dexterity, while the Fugue offers a study in control and architectural precision. In this piece, Gulyak will showcase both her technical brilliance and her ability to convey the grandeur of Bach’s music through the lens of Busoni’s Romantic interpretation.

Frédéric Chopin (1810 – 1849)
Prelude in C-sharp minor, Op. 45
Rondo à la Mazur, Op. 5

The Prelude in C-sharp minor, Op. 45, stands as one of Chopin’s most enigmatic and deeply expressive works. Written in 1841, this prelude departs from the brevity of his other preludes, offering a longer, more exploratory narrative. It is harmonically rich, with a sense of improvisation that unfolds in a series of shifting moods. The prelude is both restless and introspective, filled with chromaticism that gives it a feeling of unresolved tension. Gulyak’s interpretation will likely focus on the fluidity and emotional depth of the piece, allowing its haunting beauty to emerge naturally.

Chopin’s Rondo à la Mazur, Op. 5, composed when he was only 15 years old, is a delightful early work that already showcases the composer’s penchant for Polish folk rhythms and dance forms. The rondo structure allows for playful repetitions of the main theme, with contrasting sections that evoke the lively spirit of the Mazurka. Though less introspective than some of his later works, this piece is full of youthful energy and charm. Gulyak’s performance will undoubtedly capture the lightness and rhythmic vitality of this work, while also hinting at the deeper emotional world that Chopin would explore in his later compositions.

Frédéric Chopin (1810 – 1849)
transcribed by Franz Liszt (1811 – 1886)
Six Polish Songs (Nos. 5 and 1: Meine Freuden and Mädchens Wunsch)

Liszt’s transcriptions of Chopin’s Six Polish Songs are masterpieces in their own right, capturing the melodic beauty and emotional nuance of Chopin’s vocal works while adding Liszt’s characteristic virtuosity and flair. Meine Freuden (My Joys) is exuberant and joyful, filled with intricate runs and sparkling textures that showcase the pianist’s agility. The piece captures the essence of Chopin’s original song while allowing the pianist to explore new realms of expression.

Mädchens Wunsch (Maiden’s Wish) is more delicate and lyrical, with a graceful, flowing melody that speaks of longing and tenderness. Liszt’s transcription enhances the emotional depth of the piece, while also demanding technical brilliance from the performer. Gulyak’s ability to balance the lyricism and virtuosity of these transcriptions will undoubtedly make these pieces a highlight of the programme.

Franz Liszt (1811 – 1886)
Cadenza by Sofya Gulyak
Hungarian Rhapsody No. 2

The recital concludes with Liszt’s iconic Hungarian Rhapsody No. 2, a work famous for its fiery passion and virtuosic demands. This piece draws on Hungarian folk melodies, weaving them into a dazzling display of pianistic brilliance. The rhapsody begins with a slow, lyrical introduction, known as the Lassan, which evokes the soulful and melancholic qualities of traditional Hungarian music. This section is followed by the faster, more exuberant Friska, where the energy and excitement build to a thrilling climax.

What sets this performance apart is the inclusion of Sofya Gulyak’s own cadenza, adding a personal and creative element to this well-known piece. The cadenza allows Gulyak to showcase her unique interpretive voice, while staying true to the spirit of Liszt’s original composition. Her technical mastery and deep understanding of the music will shine through in this electrifying finale, bringing the recital to a spectacular close.