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Track(s) taken from CDA67371/2

Impromptu No 1 in A flat major, Op 29

composer
1837

Angela Hewitt (piano)
Studio Master FLAC & ALAC downloads available
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Recording details: November 2003
Reitstadel, Neumarkt in der Oberpfalz, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: November 2004
Total duration: 4 minutes 19 seconds
 
1

Other recordings available for download

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Grigory Ginzburg (piano)
Irene Scharrer (piano)
Raoul Pugno (piano)

Reviews

'In a catalogue boasting many distinguished Chopin Nocturne cycles, Angela Hewitt's commands attention' (BBC Music Magazine)

'One of the most elegant pianists around, the Canadian virtuoso Angela Hewitt interrupts her epic Bach and Couperin cycles for Hyperion to explore some of Chopin's most refined music, the complete Nocturnes and Impromptus. Hewitt's innate sophistication and delicacy of touch are perfectly suited to these exquisite pieces, 25 of them over two discs, by a master of the genre at the height of his fragile powers. Spanning almost his entire creative life, the Nocturnes amount to a remarkable graph of Chopin's emotional maturity, touchingly reflected in the affectionate care Hewitt brings to what sounds like a labour of love' (The Observer)

'Hewitt is not given to grand effects, whether an extreme rubato or rude dynamic change. Still, she can play grandly as well, as we hear on her powerful performance of the great Fantaisie-Impromptu in C sharp minor. This new recording of the nocturnes is what Marlon Brando would have called, if he had cared, a contender. It's richly recorded and beautifully played: it has art's final seal' (Fanfare, USA)

'Angela Hewitt is a sound buy … the delicacy of touch and manicured precision of the phrasing is a delight' (The Scotsman)
The Impromptu in A flat major, Op 29 (1837), marked allegro assai, quasi presto, begins with bubbly triplets that, though brilliant, must sing and have direction. The lyrical middle section in F minor has a broad melody which becomes increasingly ornamented. The end is a stroke of genius: a cadential sequence of chords is interrupted by the returning triplets, and then becomes more and more fragmented until it finally comes to rest.

from notes by Angela Hewitt © 2004

L’Impromptu en la bémol majeur, op.29 (1837), marqué allegro assai, quasi presto, s’ouvre sur de pétillants triolets qui, malgré leur éclat, doivent chanter et avoir une certaine direction. La section centrale lyrique, en fa mineur, nous offra une ample mélodie, de plus en plus ornée. Le tout s’achève sur un coup de génie: une séquence d’accords cadentielle est interrompue par le retour des triolets et ne cesse de se fragmenter jusqu’à finalement s’arrêter.

extrait des notes rédigées par Angela Hewitt © 2004
Français: Hypérion

Das Impromptu in As-Dur op. 29 (1837) ist mit Allegro assai, quasi Presto überschrieben und beginnt mit lebhaften Triolen, die zwar brillant sind, jedoch singen und eine gewisse Richtung haben müssen. Der lyrische Mittelteil in f-Moll hat eine breite Melodie, die immer mehr verziert wird. Der Schluss ist ein Geniestreich: eine kadenzartige Folge von Akkorden wird von den wiederkehrenden Triolen unterbrochen, so dass sie in zunehmend fragmentartiger Form erscheint und schließlich zur Ruhe kommt.

aus dem Begleittext von Angela Hewitt © 2004
Deutsch: Viola Scheffel

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