Kun-Woo Paik’s Bach/Busoni recital begins with a brisk, stentorian overview of the mighty Toccata, Adagio, and Fugue BWV 564. The pianist projects Busoni’s demanding octave couplings with large-scaled assurance and builds the fugue to an awesome climax that even gives Horowitz’s famous version a run for its money. The chorale preludes, though, are another story. Paik breaks “Komm, Gott Schöpfer’s” continuous line in order to accommodate his hands. Both “Wachet auf” and “Nun komm, der Heiden Heiland” droop and sag at Paik’s inexplicably slow tempos. The pianist ignores Busoni’s carefully placed left-hand accents in “Nun freut euch, lieben Christen gmein”, and pokes at rather than shapes the bass lines. Busoni marks “Herr Gott, nun schleuss’ den Himmel auf!” un poco agitato, which has nothing in common with Paik’s gentle, inward treatment. In short, Paik doesn’t hold a candle to Paul Jacobs’ cultivated musicianship and faithfulness to Busoni’s intentions in these works. Lastly, Paik sectionalizes the Chaconne from the D minor Violin Partita in virtuosic blocks, rather than allowing the material to unfold and develop on its own accord, in the manner of Rubinstein and Michelangeli’s very different interpretations. If Paik’s approach appeals to you, Evgeny Kissin’s similar conception (RCA) has more finesse and drive. Decca’s engineering is a bit distant and clangy. Solely worth it for the Toccata, Adagio, and Fugue.
