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Track(s) taken from CDA67499

Suite in F minor, BWV823


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 25 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)
A suite (although possibly only a fragment of one) which deserves more frequent hearings is the Suite in F minor, BWV823. The beauty of the Sarabande alone makes it worth playing. Again we have a very French flavour, beginning with the Prélude which is a poised Rondeau with three couplets. The Sarabande is also ‘en Rondeau’ and is marked da capo. The authenticity of this suite has been questioned, but surely this movement carries the stamp of J S Bach. The Gigue is a ‘canarie’, the lightly tripping kind that we find elsewhere in his keyboard works, notably in the French Overture, the B minor French Suite, and variation 7 of the ‘Goldberg’.

from notes by Angela Hewitt © 2004

Une suite (ou peut-être un fragment de suite) qui mériterait d’être plus souvent entendue est la Suite en fa mineur, BWV823. Il faut la jouer ne serait-ce que pour la beauté de la seule Sarabande. Nous sommes de nouveau en présence d’une atmosphère très française, débutant par le Prélude, un rondeau réfléchi doté de trois couplets. Notée da capo, la Sarabande est également de coupe rondeau. L’authenticité de cette suite a soulevé bien des questions, mais il ne fait aucun doute que ce mouvement porte le sceau de Jean-Sébastien Bach. La Gigue est une canarie, au rythme vif légèrement pointé que l’on trouve ailleurs dans ses œuvres pour clavier, notamment l’Ouverture à la Française, la Suite française en si mineur et la Septième variation des «Goldberg».

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

Eine Suite (die möglicherweise nur ein Fragment einer Suite ist), die es verdient, öfter zu Gehör gebracht zu werden, ist die Suite in f-Moll, BWV823. Die Anmut der Sarabande allein ist Grund genug, das Werk aufzuführen. Hier haben wir es wieder mit einer französischen Ausdrucksform zu tun, beginnend im Prélude, bei dem es sich um ein elegantes Rondeau mit drei Couplets handelt. Auch die Sarabande steht „en Rondeau“ und ist mit Da capo markiert. Zwar ist die Authentizität dieses Werks angezweifelt worden, doch trägt dieser Satz deutlich den Stempel J.S. Bachs. Die Gigue ist eine leichtfüßig trippelnde „canarie“, die Parallelen zu anderen Klavierwerken aufweist, insbesondere zu der Französischen Ouvertüre, zu der Französischen Suite in h-Moll sowie der 7. Goldberg-Variation.

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

Other albums featuring this work

Bach: Angela Hewitt plays Bach
CDS44421/3515CDs Boxed set (at a special price)
Bach: Fantasia, Aria & other works
This album is not yet available for downloadSACDA67499Super-Audio CD — Deleted
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