Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Click cover art to view larger version
Track(s) taken from CDA67607/8

Keyboard Concerto No 4 in A major, BWV1055

composer

Angela Hewitt (piano), Australian Chamber Orchestra, Richard Tognetti (conductor)
Recording details: February 2005
Verbrugghen Hall, Sydney Conservatorium of Music, Australia
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: June 2005
Total duration: 13 minutes 40 seconds
 
1
Allegro  [4'06]
2
Larghetto  [4'55]
3

Other recordings available for download

Matthew Halls (harpsichord), Retrospect Ensemble

Reviews

'Her 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' (Gramophone)

'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 ensure 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)

'These two discs, while available separately, go in tandem as a beguiling example of what can be achieved in performances of Baroque music on the piano when they have been prepared with such thought and are blessed with such compelling artistry as Angela Hewitt's. Her Bach catalogue for Hyperion is already extensive, and here she joins the outstanding Australian Chamber Orchestra for the six concertos and two other works that spotlight the keyboard, the Fifth Brandenburg Concerto and the A minor Triple Concerto with flute (Alison Mitchell) and violin (Richard Tognetti, who also directs the orchestra). The performances call on different traditions: Hewitt plays a modern Fazioli grand, the orchestra deploys certain historically aware techniques, to the extent of having a discreet harpsichord in the continuo part. But such is Hewitt's sensitivity to style, and such is the orchestra's versatility, that there is no sense of compromise or jarring anachronism. Rather, the two coalesce in interpretations of remarkable synergy and fascinating textures. 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)

'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)

'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)

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

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

'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)

'These are warmly involving interpretations of pioneering pieces' (HMV Choice)

'Her [Hewitt's] success comes from the shaping of each concerto, these are rhythmical, warm interpretations shimmering with boundless energy and skilled virtuosity' (Cathedral Music)

'Her 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)
The Concerto No 4 in A major, BWV1055 is probably based on a lost concerto for oboe d’amore (indeed it is often heard these days on that instrument). It opens with a high-spirited Allegro which adopts the essential feature of the concerto grosso – the opposition between tutti and soli passages. It is followed by a beautiful Larghetto in F sharp minor, in the tempo of a siciliano, thus bearing a slight resemblance to the slow movement of the E major concerto. The final Allegro ma non tanto is the most delicate last movement of the seven concertos. This lilting, menuet-like movement has immense grace, although its opening theme is not without bravura.

from notes by Angela Hewitt © 2005

Le Concerto no 4 en la majeur, BWV1055 repose probablement sur un concerto perdu, pour hautbois d’amour (et, de fait, il est souvent joué sur cet instrument). L’Allegro initial enjoué, qui adopte la grande caractéristique du concerto grosso, savoir l’opposition entre les passages de tutti et de soli, précède un magnifique Larghetto en fa dièse mineur, sis dans le tempo d’une sicilienne – d’où une légère ressemblance avec le mouvement lent du concerto en mi majeur. L’Allegro ma non tanto final est le dernier mouvement le plus délicat de tout le corpus: mélodieux et de type menuet, il possède une grâce immense, malgré un thème d’ouverture non dénué de bravoure.

extrait des notes rédigées par Angela Hewitt © 2005
Français: Hypérion

Das Konzert Nr. 4 in A-Dur BWV1055 basiert wahrscheinlich auf einem verschollenen Konzert für Oboe d’amore (und ist heutzutage auch oft mit dem Instrument zu hören). Es beginnt mit einem lebendigen Allegro, das das Hauptmerkmal des Concerto grosso aufweist: die Gegenüberstellung von Tutti- und Solopassagen. Darauf folgt ein sehr schönes Larghetto in fis-Moll im Tempo eines Siciliano – damit erinnert es an den langsamen Satz des E-Dur Konzerts. Der letzte Satz, Allegro ma non tanto, ist der zartgliedrigste letzte Satz der sieben Konzerte, der beschwingt, menuettartig und besonders anmutig gestaltet ist, obwohl das Anfangsthema nicht ohne Bravura ist.

aus dem Begleittext von Angela Hewitt © 2005
Deutsch: Viola Scheffel

Other albums featuring this work

Bach: Keyboard Concertos
Studio Master: CKD410Download onlyStudio Master FLAC & ALAC downloads available
Bach: The Keyboard Concertos, Vol. 2
CDA67308
Bach: The Keyboard Concertos, Vol. 2
This album is not yet available for downloadSACDA67308Super-Audio CD — Deleted
Search

There are no matching records. Please try again.