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Hyperion Records

Click cover art to view larger version
Front photograph of Angela Hewitt by Steve J Sherman
Track(s) taken from CDA67309
Recording details: April 2001
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: August 2001
Total duration: 2 minutes 29 seconds

'A magnificent addition to both the Bach repertoire and Angela Hewitt's artistically unparallelled survey of Bach's keyboard compositions' (Fanfare, USA)

'A collection of rarities and oddities that makes for enjoyable listening. The quality of the Hyperion recording is excellent, with the right balance of ambience and instrument in the fine sounding Henry Wood Hall' (Pianist)

'For pure listening pleasure that is both delightful and profoundly moving, this one is hard to beat' (National Post)

'One of the foremost Bach interpreters of our time, Hewitt brings her own distinctive timing and touch. She makes the most of the piano’s sonority … demonstrating remarkable finger strength in sustaining the various lines of Bach’s melodies and counter-melodies and effectively drawing out the tenderness, vigour and serenity of the music. [An] attractive and impressive recording' (The Inverness Courier)

'Divine, uplifting' (Ottowa Citizen, Canada)

Wenn wir in höchsten Nöten sein, BWV641
composer
circa 1713/7; Weimar; Orgelbüchlein
arranger

Introduction  EnglishFrançaisDeutsch
Staying in the ‘benedictory’ key of G major (as Wilfrid Mellers calls it), Wenn wir in höchsten Nöten sein, BWV641 is based on the same melody as the chorale prelude Bach dictated on his deathbed – a tune by Louis Bourgeois, dated 1547. The text for the hymn is as follows:

Wenn wir in höchsten Nöten sein
Und wissen nicht, wo aus noch ein,
Und finden weder Hilf noch Rath,
Ob wir gleich sorgen früh und spat:
So ist dies unser Trost allein,
Dass wir zusammen insgemein
Dich anrufen, o treuer Gott,
Um Rettung aus der Angst und Noth.
When in the hour of utmost need
We know not where to look for aid,
When days and nights of anxious thought
Nor help nor counsel yet have brought,
Then this our comfort is alone;
That we may meet before Thy throne,
And cry, O faithful God, to Thee,
For rescue from our misery.

As in all three of my transcriptions, I have stayed extremely close to the original, simply doubling the pedal part, and occasionally moving a voice to another octave if need be. This chorale prelude is an arabesque – a florid, serene melody which, after staying within a fairly small range, soars upwards in the second last phrase, mirroring the words ‘And cry, O faithful God, to Thee’. The accompaniment constantly refers to the first four notes of the hymn tune.

from notes by Angela Hewitt © 2001

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