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Track(s) taken from CDA67371/2

Impromptu No 3 in G flat major, Op 51

two version exist; final version is recorded by Garrick Ohlsson

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: 5 minutes 48 seconds

Other recordings available for download

Garrick Ohlsson (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)
Chopin’s favourite of these four pieces was the Impromptu in G flat major, Op 51 (1842). It begins rather like the first of the set with triplets in both hands, but is harmonically more adventurous. The ascending scale which appears initially in bar 9 makes our spirits soar. The middle section, however, is what makes this piece very special. The left hand must sing like a cello and capture something of the darkness of the key (E flat minor) while the right hand accentuates the restlessness beneath the surface.

from notes by Angela Hewitt © 2004

L’Impromptu en sol bémol majeur, op.51 (1842), le préféré de Chopin, s’ouvre plutôt à la manière du premier des quatre Impromptus, avec des triolets aux deux mains, mais est harmoniquement plus osé. La gamme ascendante qui apparaît initialement à la mesure 9 nous remonte le moral. Mais c’est la section centrale qui fait toute la spécificité de cette pièce: la main gauche doit y chanter comme un violoncelle et ravir un peu des ténèbres de la tonalité (mi bémol mineur), tandis que la droite accentue la nervosité sous-jacente.

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

Von diesen vier Werken bevorzugte Chopin das Impromptu in Ges-Dur op. 51 (1842). Ebenso wie das erste Stück in dem Zyklus beginnt es mit Triolen in beiden Händen, ist harmonisch gesehen jedoch anspruchsvoller. Die aufsteigende Tonleiter, die zunächst in Takt 9 erscheint, wirkt belebend. Doch ist der Mittelteil besonders eindrucksvoll. Die linke Hand muss singen wie ein Cello und das Dunkle der Tonart (es-Moll) einfangen, während die rechte Hand die unterschwellige Ruhelosigkeit betont.

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

Other albums featuring this work

Chopin: Preludes & Impromptus
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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