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Hyperion Records

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Track(s) taken from CDA67499
Recording details: February 2004
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: July 2004
Total duration: 5 minutes 8 seconds

'a series of performances where freedom over articulation, phrasing, embellishment, dynamics and tempo is governed by an artistic sense of responsibility; and the whole recital is heard in a shrewdly balanced recording of fine tonal verisimilitude' (Gramophone)

'when Hewitt's technical refinement merges with the spirit as well as the letter of the music, miracles happen' (BBC Music Magazine)

'Here is another out and out winner from Angela Hewitt … The hallmark of her playing derives from just such a sharp definition of musical character. Be it light or solemn, her outlook on Bach is consistently enlivening' (The Daily Telegraph)

'This disc makes a piquant, unexpected conclusion to Hewitt's Bach cycle. Her many admirers will want to acquire it' (International Record Review)

'Hewitt plays all of this unfamiliar material with her usual flair and beguiling sound' (The Sunday Times)

'Hewitt's playing is tremendously well thought-out, the contrapuntal lines always shining clear, the articulation sprightly and the musicality unfailing' (Classic FM Magazine)

'the statuesque, beautiful, and brilliantly gifted Angela Hewitt has now joined the ranks of the great interpreters of Bach's keyboard music, and the effortless and natural readings on this and the other CDs in her cycle for Hyperion unquestionably number among the finest available. After discussion, debate—call it what you will—Angela Hewitt's recordings may be deemed unquestionably definitive' (Fanfare, USA)

'Angela Hewitt continues to confirm her status among pre-eminent Bach specialists…the individual pieces and Suites consitently reward the ear—novel and timeless at once' (Audiophile Audition, USA)

'She continues to display the virtues that have made her one of the foremost Bach pianists on record, including beautiful tone, textural clarity, acute sensitivity to patterns of tension and resolution, a strong sense of dance, and refined attention to detail … In sum, a beautiful, profoundly satisfying recital and a fitting conclusion to a landmark (Goldberg)

'Hewitt has already exhausted the supply of critical superlatives in her devotion to Bach. Those who have loyally followed the Hyperion cycle will find that this terminal issue meets and exceeds the stringent standards which she set for herself. Hewitt presents a Bach of sensitivity and integrity for our time and always. Enjoyment of the disc is enhanced by the performer's lively and informative booklet note. Conventional CD sound quality is in the demonstration class. SACD playback (stereo is preferable to multi-channel) is as close as most of us will ever get to having Miss Hewitt and her concert Steinway perform in our listening rooms' (The Scene Musicale, Canada)

Adagio in G major, BWV968
composer

Introduction  EnglishFrançaisDeutsch
The Adagio in G major, BWV968 is a transcription of the opening movement of Bach’s Sonata for solo violin in C major, BWV1005. Along with the Sonata in D minor (a transcription of the solo violin Sonata in A minor, BWV1003), it has been passed down to us in a copy made by Altnikol, Bach’s pupil and son-in-law. Another Bach pupil, Agricola, stated in 1775 that Bach often played transcriptions of his works for solo stringed instruments on the clavichord, so this was an accepted practice. Still, the Neue Bach-Ausgabe claims it not to be authentic, and the name that most frequently appears as the possible author is Bach’s son, Wilhelm Friedemann. Notoriously difficult to play on the violin, these pieces are technically easier on the piano, although the musical demands are equal if not greater. I am told that when Gustav Leonhardt played (or perhaps still plays) it as an encore, he added the words, “To vex violinists!”. Bach (or whoever) omits one bar from the original, but fills in the harmonies with often daring results. Ornaments appear on each beat of the first bar which should be repeated throughout. They are absent from the violin version, but then notes can be more easily sustained on that instrument. Surely whoever made this transcription intended to do the same with the other movements, but either these were never completed or else they have been lost. So we end on the dominant, at peace but expecting something else.

from notes by Angela Hewitt © 2004

Other albums featuring this work
'Bach: Angela Hewitt plays Bach' (CDS44421/35)
Bach: Angela Hewitt plays Bach
MP3 £45.00FLAC £45.00ALAC £45.00Buy by post £50.00 CDS44421/35  15CDs Boxed set (at a special price)  
'Bach: Fantasia, Aria & other works' (SACDA67499)
Bach: Fantasia, Aria & other works
This album is not yet available for download SACDA67499  Super-Audio CD — Deleted  
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