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Bach: The Keyboard Concertos 2 / Hewitt, Tognetti, et al

Album Summary

>Bach, Johann Sebastian : Concerto for Harpsichord in A major, BWV 1055
>Bach, Johann Sebastian : Concerto for Harpsichord in D major, BWV 1054
>Bach, Johann Sebastian : Concerto for Harpsichord in E major, BWV 1053
>Bach, Johann Sebastian : Concerto for Harpsichord in F minor, BWV 1056
>Bach, Johann Sebastian : Concerto for harpsichord, 2 recorders, strings & continuo no 6 in F major, BWV 1057
Performers Composer

Notes & Reviews:

"[Angela] Hewitt is not afraid to employ expressive cantabile in the slow movements, especially in the concertos better known in their original versions for violin and orchestra. As always, she really sparkles in the allegros, infusing this music with wit as well as technical bravura." - The Sunday Times

Australian exclusive! Features Concertos 4, 3, 2, 5 & 6. Hyperion. 2005.

'Her [Hewitt's] playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation - twirls, flutters, arabesques - and yet it never disturbs the clear, logical path she forges through the course of each work. Her staccato touch has the force of sprung steel and yet her legato line is a miracle of smoothness and transparency. An absolute joy' (Metro)

'Hewitt's Bach is well-known for its expressive restraint, lucid textures and rhythmic grace. These virtues are abundantly present in her thoughtful, unmannered approach to the Concertos. Contrapuntal arguments are admirably clear and Hewitt's restricted use of the sustaining pedal ensures a pleasing clarity of dialogue. These virtues are mirrored by the lightly articulated bowing of the strings of the Australian Chamber Orchestra under the direction of its leader Richard Tognetti... My own prefernce lies just with Hewitt and her Australian musicians' (BBC Music Magazine)

'As always, she [Hewitt] really sparkles in the allegros, infusing the music with wit as well as technical bravura' (Sunday Times)

'The familiar argument that Bach would have written for a piano if only he had had one is nowhere given more persuasive advocacy than in Hewitt's singing melodic lines, her judicious range of tonal colouring and in her touch, which combines the crispness and full flavour of a fresh apple. Take a bite of any of these concertos, and you will want to make a whole meal of them' (The Daily Telegraph)

'The result of their historically informed modern-instrument take on the music is stunning, with crisp rhythms and singing melodic lines' (Classic FM Magazine)

'Her [Hewitt's] playing is absolutely captivating: she decorates the solo part with playful, come-hither ornamentation - twirls, flutters, arabesques - and yet it never disturbs the clear, logical path she forges through the course of each work. Her staccato touch has the force of sprung steel and yet her legato line is a miracle of smoothness and transparency. An absolute joy' (Metro)

'Hewitt's performances are brilliantly alive. Her subtle lyricism adds a rich, occasionally dark dimension, possibly not as Bach himself would have envisaged, but always with a deep sense of musical integrity' (The Scotsman)

'Here the Fazioli is heard at its exquisite best, its spongey bass chords pumping with clarity, its treble caressing a heart-tuggingly beautiful legato out of the slow movement, while the dainty strings sketch an almost tongue-in-cheek pizzicato in the background. Hewitt's sense of phrase is masterful... the statements have regal import under the authoritative hands of this queen of keyboard playing' (The Times)

'Her fingers dance as well as sing: in the outer movements, rhythms are buoyantly sprung, and this communicates itself to the members of the Australian Chamber Orchestra, whose slender string accompaniment in no way lessens their energy, while Hewitt responds by projecting the piano parts with all due attention to Bach's overall texture' (International Record Review)

'J'ai écouté plusieurs fois ces disques pour m'assurer que je n'étais pas victime d'un excès d'enthousiasme la première fois: à chaque reprise le plaisir n'a fait que croître' (ClassicsTodayFrance.com)



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Works Details

>Bach, Johann Sebastian : Concerto for Harpsichord in A major, BWV 1055
  • Performer: Angela Hewitt (Piano)
  • Notes: Verbrugghen Hall, Sydney Conservatorium of Music, Australia (02/04/2005/02/07/2005)
  • Running Time: 13 min. sec.
  • Period Time: Baroque
  • Form: Concerto
  • Written: 1738

>Bach, Johann Sebastian : Concerto for Harpsichord in D major, BWV 1054
  • Performer: Angela Hewitt (Piano)
  • Notes: Verbrugghen Hall, Sydney Conservatorium of Music, Australia (02/04/2005/02/07/2005)
  • Running Time: 16 min. 11 sec.
  • Period Time: Baroque
  • Form: Concerto
  • Written: 1738

>Bach, Johann Sebastian : Concerto for Harpsichord in E major, BWV 1053
  • Performer: Angela Hewitt (Piano)
  • Notes: Verbrugghen Hall, Sydney Conservatorium of Music, Australia (02/04/2005/02/07/2005)
  • Running Time: 19 min. 13 sec.
  • Period Time: Baroque
  • Form: Concerto
  • Written: 1738

>Bach, Johann Sebastian : Concerto for Harpsichord in F minor, BWV 1056
  • Performer: Angela Hewitt (Piano)
  • Notes: Verbrugghen Hall, Sydney Conservatorium of Music, Australia (02/04/2005/02/07/2005)
  • Running Time: 9 min. 4 sec.
  • Period Time: Baroque
  • Form: Concerto
  • Written: 1738

>Bach, Johann Sebastian : Concerto for harpsichord, 2 recorders, strings & continuo no 6 in F major, BWV 1057
  • Performers: Angela Hewitt (Piano); Alison Mitchell (Flute); Emma Sholl (Flute)
  • Notes: Verbrugghen Hall, Sydney Conservatorium of Music, Australia (02/04/2005/02/07/2005)
  • Running Time: 16 min. 34 sec.
  • Period Time: Baroque
  • Form: Concerto
  • Written: 1738