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Hyperion Records

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Photo of Angela Hewitt by James Cheadle.
Track(s) taken from CDA67736
Recording details: March 2009
Jesus-Christus-Kirche, Berlin, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: September 2009
Total duration: 12 minutes 54 seconds

'Hewitt distils the essence of the original instruments without compromsing her out-and-out commitment to the modern keyboard … the large-scale Haydn E flat Sonata is superb, above all the middle movement in an astonishing and other-wordly E major. Hewitt's dynamic range is bold … and the glittering facility of the final Presto is thrilling. Altogether a splendid contribution to these composers' anniversary year' (BBC Music Magazine)

'Everything emerges with an impressive combination of clarity and vitality … the programme is unique to the current catalogue, and Hewitt's favoured Fazioli instrument has been recorded with superb fidelity' (International Record Review)

'What intrigues me most about Angela Hewitt's playing is the tension between the expressive restrictions of her 18th-century repertoire, and the imagination she deploys so fully within its boundaries … she takes pains to make each strand of the music apparent to the listener … technical virtuosity put to the service of Haydn's brilliant wit' (Fanfare, USA)

'Canadian pianist Angela Hewitt, famous for playing Bach, commands the very different, more Italianate style of Handel. The last work on the disc is Haydn's great E flat Sonata and I like Hewitt's way with its Adagio best of all' (Daily Mail)

Suite No 8 in F minor, HWV433
composer
published in London in 1720 as part of a set of Suites de pièces pour le clavecin

Prelude  [2'40]
Allegro: Fugue  [2'44]
Allemande  [2'56]
Courante  [2'01]
Gigue  [2'33]

Other recordings available for download
Paul Nicholson (harpsichord/virginals)
Danny Driver (piano)   May 2014 Release
Introduction  EnglishFrançaisDeutsch
Suite No 8 in F minor reminds us that just as E major, being the sharpest major key in common use, was considered heavenly, so F minor, the flattest minor key in common use, was deemed apposite to infernal matters. Handel’s F minor Suite is not, however, overtly hellish and begins with a prelude in French dotted rhythm which is ‘pathetic’ rather than scary. He ballasts its pathos with a massive fugue on a rising-scale subject in symmetrical rhythm. Often he adds weight by ‘filling in’ the mounting octaves in the left hand, a corruption of linearity that Bach would not have countenanced. The open energy and ‘drive’ of this music mirror eighteenth-century man’s courage in confronting life’s threats; but the allemande and courante temper gravity with grace rather than with power. Handel does not risk an F minor sarabande, whether of the ‘grave’ or the ‘pathetic’ type, but concludes with a contrapuntal gigue in three voices, with canonic imitations to discipline the theme’s spikiness.

from notes by Wilfrid Mellers © 1995


Other albums featuring this work
'Handel: The Eight Great Suites' (CDA68041/2)
Handel: The Eight Great Suites
Pre-order CD by post £20.00 CDA68041/2  2CDs May 2014 Release  
'Handel: Harpsichord Suites' (CDD22045)
Handel: Harpsichord Suites
MP3 £7.99FLAC £7.99ALAC £7.99Buy by post £10.50 CDD22045  2CDs Dyad (2 for the price of 1)  

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