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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 50 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)

Fantasia and Fugue in A minor, BWV944
composer

Fantasia  [0'56]
Fugue  [4'54]

Other recordings available for download
Eileen Joyce (piano)
Introduction  EnglishFrançaisDeutsch
The A minor Fantasia and Fugue, BWV944, is a kettle of fish. Here we really have a case of a free fantasia and a brilliant, virtuoso fugue. It appears in the so-called Andreas Bach Book – a collection of seventeenth- and eighteenth-century keyboard works by many composers, including J S Bach, put together by Bach’s oldest brother and former keyboard teacher, Johann Christoph Bach. Andreas Bach (1713–1779) was the latter’s youngest son. Many later sources only give the fugue without the fantasia. Mind you, it is hardly a fantasia, simply ten bars of chords marked ‘arpeggio’ with no indication given as to how they should be played. Bach used this notation in the first versions of the Preludes in C major (Book I) and C sharp major (Book II) of The Well-Tempered Clavier. With both he ultimately did something quite magical. Taking the C sharp major Prelude as my inspiration (but without Bach’s genius, for sure!), I have concocted a figuration that at least stays faithful to the harmonies he outlined. This is, however, only a brief warming-up for what is to come: the whirlwind, moto perpetuo fugue gives us no time to dally. It is long so it needs to move if we aren’t to lose interest. Two pedal points help to build up the excitement, along with stabbing crotchets. The end comes so suddenly that we are almost taken aback; but that must have been what Bach wanted as the last chord is written as a crotchet followed by rests. No long drawn-out ending here.

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)  
'Eileen Joyce – The complete Parlophone & Columbia solo recordings' (APR7502)
Eileen Joyce – The complete Parlophone & Columbia solo recordings
MP3 £16.49FLAC £16.49ALAC £16.49 APR7502  5CDs Download only  
'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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