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Track(s) taken from CDA67499

Partie in A major, BWV832


Angela Hewitt (piano)
Recording details: February 2004
Henry Wood Hall, London, United Kingdom
Produced by Ludger Böckenhoff
Engineered by Ludger Böckenhoff
Release date: July 2004
Total duration: 8 minutes 43 seconds


'a series of performances where freedom over articulation, phrasing, embellishment, dynamics and tempo is governed by an artistic sense of responsibility; and the whole recital is heard in a shrewdly balanced recording of fine tonal verisimilitude' (Gramophone)

'when Hewitt's technical refinement merges with the spirit as well as the letter of the music, miracles happen' (BBC Music Magazine)

'Here is another out and out winner from Angela Hewitt … The hallmark of her playing derives from just such a sharp definition of musical character. Be it light or solemn, her outlook on Bach is consistently enlivening' (The Daily Telegraph)

'This disc makes a piquant, unexpected conclusion to Hewitt's Bach cycle. Her many admirers will want to acquire it' (International Record Review)

'Hewitt plays all of this unfamiliar material with her usual flair and beguiling sound' (The Sunday Times)

'Hewitt's playing is tremendously well thought-out, the contrapuntal lines always shining clear, the articulation sprightly and the musicality unfailing' (Classic FM Magazine)

'the statuesque, beautiful, and brilliantly gifted Angela Hewitt has now joined the ranks of the great interpreters of Bach's keyboard music, and the effortless and natural readings on this and the other CDs in her cycle for Hyperion unquestionably number among the finest available. After discussion, debate—call it what you will—Angela Hewitt's recordings may be deemed unquestionably definitive' (Fanfare, USA)

'Angela Hewitt continues to confirm her status among pre-eminent Bach specialists…the individual pieces and Suites consitently reward the ear—novel and timeless at once' (Audiophile Audition, USA)

'She continues to display the virtues that have made her one of the foremost Bach pianists on record, including beautiful tone, textural clarity, acute sensitivity to patterns of tension and resolution, a strong sense of dance, and refined attention to detail … In sum, a beautiful, profoundly satisfying recital and a fitting conclusion to a landmark (Goldberg)

'Hewitt has already exhausted the supply of critical superlatives in her devotion to Bach. Those who have loyally followed the Hyperion cycle will find that this terminal issue meets and exceeds the stringent standards which she set for herself. Hewitt presents a Bach of sensitivity and integrity for our time and always. Enjoyment of the disc is enhanced by the performer's lively and informative booklet note. Conventional CD sound quality is in the demonstration class. SACD playback (stereo is preferable to multi-channel) is as close as most of us will ever get to having Miss Hewitt and her concert Steinway perform in our listening rooms' (The Scene Musicale, Canada)
The Partie in A major, BWV832, could and has been called ‘Suite’. Two of its movements (the Allemande and the Air) appear in the Möller Manuscript (another collection of keyboard works put together by Johann Christoph Bach) under that title. It is definitely a suite in the French style – a precursor to the French Suites – with its standard movements of Allemande, Sarabande and Gigue, to which is added a characteristic Bourrée. In place of a courante, however, Bach writes an ‘Air pour les trompettes’, which is really what made me want to play this suite. It is quite unique in Bach’s solo keyboard music and deserves to be heard. The mood reminds me of the final movements of the Capriccio on the Departure of a Beloved Brother, BWV993, and the posthorn we hear there makes another appearance in bar 21 of this Air. It is by far the most original part of the work. This suite was for a long time thought to be by Telemann.

from notes by Angela Hewitt © 2004

La Partie en la majeur, BWV832 pourrait s’appeler «Suite». Deux de ses mouvements (l’Allemande et l’Air) figurent dans le Manuscrit Möller (un autre recueil d’œuvres pour clavier réunies par Johann Christoph Bach) sous ce titre. Il s’agit d’une suite de style français – précurseur des Suites à la Française – avec ses mouvements usuels, Allemande, Sarabande et Gigue, auxquels a été ajoutée une Bourrée caractéristique. A la place de la courante, Bach a écrit un «Air pour les trompettes». C’est cet air qui m’a poussée à jouer cette œuvre. Il s’agit d’une pièce unique dans le répertoire pour clavier seul de Bach. Elle mérite d’être entendue. Le climat me rappelle celui des derniers mouvements du Caprice sur le départ de son frère bien-aimé, BWV993. Le petit cor de postillon que nous y entendons réapparaît à la mesure 21 de cet air. Voici, et de loin, la partie la plus originale de cette œuvre, et de loin. Pendant longtemps, on a attribué cette suite à Telemann.

extrait des notes rédigées par Angela Hewitt © 2004
Français: Isabelle Battioni

Wenn man die Sonate als „Toccata“ bezeichnen könnte, dann könnte die Partie in A-Dur, BWV832 eine „Suite“ sein. Zwei Sätze des Werks (die Allemande und das Air) tauchen mit dem Titel im Möller-Manuskript auf (eine weitere Sammlung von Klavierwerken, die von Johann Christoph Bach zusammengestellt wurde). Es ist dies wahrhaftig eine Suite im französischen Stil – ein Vorläufer der Französischen Suiten – und hat die üblichen Sätze Allemande, Sarabande und Gigue, der eine typische Bourrée angefügt ist. Anstelle einer Courante schreibt Bach jedoch ein „Air pour les trompettes“, was für mich der Grund dafür war, das Stück zu spielen. Es ist in Bachs Werken für Soloklavier ziemlich einzigartig und verdient es, gehört zu werden. Die Stimmung erinnert mich an die Schlusssätze aus dem Capriccio zum Abschied vom heißgeliebten Bruder, BWV993, und das Posthorn, das wir dort hören, tritt in diesem Air in Takt 21 auf. Es ist dies bei weitem die originellste Stelle des Werks. Die Suite wurde lange Zeit Telemann zugeschrieben.

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

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This album is not yet available for downloadSACDA67499Super-Audio CD — Deleted
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