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Track(s) taken from CDA67371/2

Nocturne in C minor, Op 48 No 1

1841; published 1842

Angela Hewitt (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: November 2003
Reitstadel, Neumarkt in der Oberpfalz, Germany
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: November 2004
Total duration: 7 minutes 16 seconds

Other recordings available for download

Garrick Ohlsson (piano)
Lívia Rév (piano)


'In a catalogue boasting many distinguished Chopin Nocturne cycles, Angela Hewitt's commands attention' (BBC Music Magazine)

'One of the most elegant pianists around, the Canadian virtuoso Angela Hewitt interrupts her epic Bach and Couperin cycles for Hyperion to explore some of Chopin's most refined music, the complete Nocturnes and Impromptus. Hewitt's innate sophistication and delicacy of touch are perfectly suited to these exquisite pieces, 25 of them over two discs, by a master of the genre at the height of his fragile powers. Spanning almost his entire creative life, the Nocturnes amount to a remarkable graph of Chopin's emotional maturity, touchingly reflected in the affectionate care Hewitt brings to what sounds like a labour of love' (The Observer)

'Hewitt is not given to grand effects, whether an extreme rubato or rude dynamic change. Still, she can play grandly as well, as we hear on her powerful performance of the great Fantaisie-Impromptu in C sharp minor. This new recording of the nocturnes is what Marlon Brando would have called, if he had cared, a contender. It's richly recorded and beautifully played: it has art's final seal' (Fanfare, USA)

'Angela Hewitt is a sound buy … the delicacy of touch and manicured precision of the phrasing is a delight' (The Scotsman)
The opening of the C minor Nocturne immediately announces something out of the ordinary, with its pendulum-like bass and its melody which, punctuated by rests, is strongly rhetorical. Chopin was, according to his students, impossible to please when playing the opening phrase. Already in the first four bars he wanted to hear a question and an answer. The following section in C major, marked poco più lento and sotto voce, holds back the drama and keeps us in suspense. Gradually things build up with the help of octaves interjected like the rumbling of thunder in the background. When it all comes to a head, the main theme is presented again, but this time with great agitation and over a chordal, triplet accompaniment. Its passionate outburst is maintained almost to the very end, with only the last two bars fading away, but not dispelling the sense of tragedy.

from notes by Angela Hewitt © 2004

L’ouverture du Nocturne en ut mineur annonce d’emblée quelque chose de peu ordinaire, avec sa basse-balancier et sa mélodie qui, ponctuée de pauses, est fortement rhétorique. À en croire ses élèves, Chopin était toujours insatisfait de l’interprétation de la phrase d’ouverture. Dès les quatre premières mesures, il voulait entendre une question et une réponse. Marquée poco più lento et sotto voce, la section suivante, en ut majeur, retient le drame et nous tient en haleine. Les choses ses construisent peu à peu à l’aide d’octaves assenées en arrière-plan comme un grondement de tonnerre. Lorsque la situation devient critique, le thème principal est de nouveau présenté, mais cette fois avec une vive agitation et par-dessus un accompagnement monophonique, en triolets. Cet accès de passion est entretenu presque jusqu’à la toute fin, seules les deux dernières mesures s’affaiblissant, sans pour autant dissiper le sentiment de tragédie.

extrait des notes rédigées par Angela Hewitt © 2004
Français: Hypérion

Der Anfang des c-Moll Nocturnes kündigt sofort etwas Ungewöhnliches an; die Bassstimme erscheint wie ein Pendel, wobei die von Pausen durchsetzte Melodie sehr rhetorisch ist. Chopins Schülern zufolge war es unmöglich, die Anfangsfigur für ihn befriedigend zu spielen. Schon in den ersten vier Takten wollte er eine Frage und eine Antwort hören. Die folgende Passage in C-Dur, mit Poco più lento und sotto voce überschrieben, ist eher undramatisch und baut so die Spannung auf. Nach und nach steigert sich das Ganze mit der Hilfe von Oktaven, die eingeworfen werden wie Donnergrollen in der Ferne. Wenn sich die Dinge zuspitzen, wird das Hauptthema nochmals präsentiert, diesmal jedoch unter großer Aufregung und über einer akkordischen Triolenbegleitung. Dieser leidenschaftliche Ausbruch wird fast bis zum Ende aufrechterhalten; nur die letzten beiden Takte lassen etwas nach, ohne jedoch dabei das tragische Moment zu schmälern.

aus dem Begleittext von Angela Hewitt © 2004
Deutsch: Viola Scheffel

Other albums featuring this work

Chopin: Nocturnes
CDD220132CDs Dyad (2 for the price of 1)
Chopin: The Complete Works
CDS44351/6616CDs Boxed set (at a special price)
Chopin: Nocturnes & Impromptus
This album is not yet available for downloadSACDA67371/22CDs Super-Audio CD — Deleted
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