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Track(s) taken from CDA67310

Toccata in G major, BWV916

composer

Angela Hewitt (piano)
Recording details: January 2002
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: July 2002
Total duration: 7 minutes 27 seconds
 
1

Reviews

'Her performances could hardly be more stylish or impeccable, more vital or refined; and, as a crowning touch, Hyperion's sound is superb' (Gramophone)

'Angela Hewitt’s intelligent virtuosity, stylish command and uncluttered musicianship not only serve the composer well, but also prove how vibrant and expressive the toccatas can and should sound on the modern concert grand' (BBC Music Magazine)

'imaginative and exciting performances' (The Observer)

'She proves once again that she is an exemplary exponent of Bach’s keyboard music on the piano, making these complex pieces flow with uninterrupted inspiration' (The Independent)

'a lovely tone, a seamless legato, some delicious dissonances – perfectly gauged and subtly nuanced – and some probing recitatives’ (American Record Guide)

'In Hewitt’s hands [the toccatas] evince a molten quality that places the listener in close proximity to the act of composition' (International Record Review)

'Like the music itself, the performances brim with that improvisatory spontaneity that is the hallmark of this player’s style' (The Sunday Times)

'faultless articulation and sensitive phrasing' (Classic FM Magazine)

'interpretations that are first class from beginning to end' (Fanfare, USA)

'Hewitt brings a sublime grace and thoroughly musical fluidity to Bach’s endlessly creative writing … fabulously involving and beautifully performed' (HMV Choice)

'She succeeds remarkably in giving each work a differently slanted emotional colour, while every detail emerges with glittering definition … a fine disc' (Pianist)

'This album is now the benchmark recording of these works on the piano' (Goldberg)

'There is much brilliant playing here … the total impression is of interpretations that are superbly performed, clean, clear and serious' (International Piano)

'Exquisite playing … This disc reinforces Hewitt's position as one of the supreme Bach interpreters and provides the ideal entry point for newcomers to her' (Music Week)

'This disc is a delight from start to finish, a disc to lift the saddest of spirits' (BBCi)

'Interpretations of the highest quality … For sheer virtuosity she makes us hold our breath at the combination of clarity, dynamic variety and structural comprehension, which is faultlessly conveyed' (Musical Opinion)

'La pianiste possède en effet une très belle sonorité, travaillée et personelle’ (Classica, France)
The Toccata in G major, BWV916 is different from the others Toccatas in that it is clearly in three movements. The opening allegro is somewhat concerto-like in its use of solo and ritornello passages. Scales, broken chords, and cascading solid chords are used to make a brilliant opener. The second movement is a lyrical adagio in E minor where a fair amount of embellishment seems to be called for. The Bärenreiter edition gives no fewer than three different versions – including one by Bach’s son Johann Christoph. The final fugue (marked ‘Allegro e presto’) is a gigue in the French style, using the characteristic dotted rhythm. Like many of Bach’s early fugues, this one has some passages that are awkward to play, yet it certainly doesn’t lack charm. At the end the texture unravels very quickly, leaving us surprised at the finish.

from notes by Angela Hewitt © 2002

La Toccata en sol majeur, BWV916 diffère des autres Toccatas en ce qu’elle s’inscrit clairement dans une coupe en trois mouvements. L’allegro initial évoque le concerto dans l’emploi de passages solistes et de ritornello. Recourant à des gammes, à des accords brisés, et à des accords plaqués en cascades, la première partie est pleine de brio. Le second mouvement est un adagio lyrique en mi mineur qui semble nécessiter une certaine ornementation. L’édition Bärenreiter offre pas moins de trois versions différentes – dont celle de Johann Christoph, le fils de Bach. La fugue finale (notée « Allegro e presto ») est une gigue de style français exploitant le rythme pointé caractéristique. Comme une bonne partie des fugues de jeunesse de Bach, elle possède quelques passages mal commodes, sans pour autant manquer de charme. A la fin, la texture s’éclaircit rapidement, nous laissant pantois, une fois la conclusion finie.

extrait des notes rédigées par Angela Hewitt © 2002
Français: Isabelle Battioni

Die Toccata in G-Dur, BWV916 unterscheidet sich insofern von den anderen Toccatas, als dass sie sich deutlich in drei Sätze einteilen lässt. Das eröffnende Allegro erinnert mit seinen Solo- und Ritornellopassagen an ein Konzert. Tonleitern, gebrochene Akkorde und herabfallende, ungebrochene Akkorde werden hier für den brillanten Anfang verwendet. Der zweite Satz ist ein lyrisches Adagio in e-Moll, der relativ viele Ausschmückungen verlangt. Die Bärenreiter-Ausgabe gibt nicht weniger als drei Versionen an – darunter eine von Bachs Sohn Johann Christoph. Die abschließende Fuge (mit „Allegro e presto“ überschrieben) ist eine Gigue im französischen Stil, in der der charakteristische punktierte Rhythmus zum Ausdruck kommt. Wie viele der frühen Fugen Bachs hat auch diese einige Passagen, die sich nur schwer spielen lassen, jedoch fehlt es ihr keineswegs an Charme. Gegen Schluss löst sich die Textur relativ schnell auf und lässt das Stück auf überraschende Weise enden.

aus dem Begleittext von Angela Hewitt © 2002
Deutsch: Viola Scheffel

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