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Hyperion Records

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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: 5 minutes 24 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)

O Mensch, bewein' dein' Sünde gross, BWV622
composer
circa 1713/7; Weimar; Orgelbüchlein
arranger
commissioned by Harriet Cohen and first published by Oxford University Press in A Bach Book for Harriet Cohen; first performed at the Queen's Hall on 17 October 1932

Other recordings available for download
Jonathan Plowright (piano)
Introduction  EnglishFrançaisDeutsch
Like Arthur Bliss, Herbert Howells chose a chorale prelude from the Orgelbüchlein: O Mensch, bewein’ dein’ Sünde gross BWV622. Howells had been a passionate admirer of early music since his student days, and was no stranger to composing in an archaic style. (He would later produce an inspired blend of old and new in his keyboard suite Lambert’s Clavichord.) Unlike some of the other contributors Howells is lavish with dynamic, tempo and expression marks and phrasing. His very slow tempo—slowing further to an Adagiosissimo in the final bars—helps to sustain and clarify the intricate polyphonic web of Bach’s writing. Only towards the end, in the assai sostenuto ascent to the climax, does he do much to personalize the harmony.

from notes by Calum MacDonald © 2010


Other albums featuring this work
'Bach: Piano Transcriptions, Vol. 9 – A Bach Book for Harriet Cohen' (CDA67767)
Bach: Piano Transcriptions, Vol. 9 – A Bach Book for Harriet Cohen

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