A compilation of music by the Mendelssohn siblings and keyboard works by the great J. S. Bach seems quite plausible. Bach was one of the pillars upon which the musical education of Fanny and Felix Mendelssohn rested. Both their piano teacher Ludwig Berger and members of the Berlin “Singverein” (Musical Society) were important in the children’s musical education.
They all recognized in Bach’s work those outstanding qualities, which were only accredited to him some time later. Influence of Bach’s music can be found in the works of the Mendelssohn children, even if titles such as “Klavierlieder” (Songs for piano) or “Variations serieuses” belie any immediate connection with Bach. Bach’s concept of form was influenced by the great concertante works of his time. These had a powerful effect on the individual movements of his keyboard suites, which grew into cyclical works for keyboard. These in turn served as models for Romantic character pieces and for cyclical works for piano in the 19th century, particularly for works by Mendelssohn and Schumann.
Miku Nishimoto-Neubert is rightly regarded as an “outstanding Bach soloist”. In order to identify with the complex and differentiated sound-world of Bach, she has, in the past years, made his works something of her own. In her many new Bach interpretations, his best-known works appear as new.
Her playing draws its strength and vitality from a consistent identification with the structural and spiritual demands of Bach’s music. These can be transmitted to the discerning listener only through an open approach and a consistent re-appraisal of one’s own mental and technical resources.